Vocal Dose and Vocal Demands in Contemporary Musical Theatre

Author(s):  
Ana Flavia Zuim ◽  
Celia F. Stewart ◽  
Ingo R. Titze
Keyword(s):  
2020 ◽  
Vol 60 (1-4) ◽  
pp. 243-262
Author(s):  
Gloria A. Rodríguez-Lorenzo

The appearance of zarzuela in Hungary is entirely unknown in musicology. In the present study, I discuss the currently unchartered reception of the zarzuela El rey que rabió (first performed in Spain in 1891) by Ruperto Chapí (1851-1909), a Spanish composer of over one hundred stage pieces and four string quartets. Premièred as Az unatkozó király in Budapest seven years later in 1898, Chapí’s zarzuela met with resounding success in the Hungarian press, a fervour which reverberated into the early decades of the twentieth century. Emil Szalai and Sándor Hevesi’s skilful Hungarian translation, together with Izsó Barna’s appropriate adjustments and reorchestration, accordingly catered the work to Budapest audiences. Through analysis of hand-written performance materials of Az unatkozó király (preserved in the National Széchényi Library), alongside a detailed study of the Hungarian reception, the profound interest in Spanish music–particularly in relation to musical theatre–amongst the turn-of-the-century Hungarian theatre-going public is revealed. This paper explores how Az unatkozó király became a success in Hungary.


2020 ◽  
Vol 14 (3) ◽  
pp. 321-330 ◽  
Author(s):  
Samantha Lampe

As the Women’s Liberation Movement developed in the 1970s, women challenged society’s limited female representation as either the Madonna or the whore. Musicals in the 1970s, including Grease (1972), Chicago (1975) and Evita (1979), complicated the female image through the juxtaposition of feminine stereotypes in the heroine’s persona. With each of the shows centralizing the plot around analysing the contradictory feminine image, the women perform in both public and private settings, along with other characters critiquing their personas. From feminist protesters to the writings of Simone de Beauvoir and Betty Friedan, Sandy, Roxie and Eva reflect the requests of contemporary women to display their gender as something beyond the perceived dichotomy of Madonna or whore in their music performances.


2021 ◽  
Author(s):  
Kenneth Pickering ◽  
David Henson

Author(s):  
Joseph Church

Rock ’n’ roll music and its offshoots, including pop, hard rock, rap, r&b, funk, folk, and many others, have become the standard language of today’s musical theatre. Theatre singers, performers, and coaches need a source of information on these styles, their origins, and their performance practices. Rock in the Musical Theatre: A Guide for Singers fills this need. Today’s musical theatre training programs are now including rock music in their coursework and rock songs and musicals in their repertoires. This is a text for those trainees, mentors, courses, and productions. It will also be of great value to working professionals, teachers, music directors, and coaches less familiar with rock styles, or who want to improve their rock-related skills. The author, an experienced music director, vocal coach, and university professor, and an acknowledged expert on rock music in the theatre, examines the many aspects of performing rock music in the theatre and offers practical advice through a combination of aesthetic and theoretical study; extensive discussions of musical, vocal, and acting techniques; and chronicles of coaching sessions. The book also includes advice from working actors, casting directors, and music directors who specialize in rock music for the stage.


2021 ◽  
Vol 15 (1) ◽  
pp. 25-40 ◽  
Author(s):  
Joy Brooke Fairfield ◽  
Krista Knight ◽  
Barry Brinegar

In the first autumn of the COVID-19 pandemic, long-time theatre collaborators in two different cities in the US South discuss the future of an art form that has currently gone dark. Influenced by punk culture, twenty-first-century internet aesthetics, social justice movements and their pets, this decade-strong creative team reflects in a multimedia format on their past work and enumerates their priorities for the future of musical theatre: cheap, remote, inexperienced, local, radical and full of women and sexual/gender minorities.


Sign in / Sign up

Export Citation Format

Share Document