CHARACTERISTICS OF THE 19TH CENTURY FRENCH OPERA REFLECTED IN THE WORKS OF SAINT-SAËNS AND BIZET by Noémi KARÁCSONY

Subjects: “…opera, French, Saint-Saëns, Bizet, mezzo-soprano.…”
Get full text

AS A TRIBUTE TO THE SINGER AND PEDAGOGUE LARISA ŞULGA-VICHILU by BEREZOVICOVA TATIANA, BLÎNDU ADELA

Subjects: Get full text

THE RELATIONSHIP BETWEEN POETRY AND MUSIC IN THE MÉLODIES OF REYNALDO HAHN by Noémi KARÁCSONY

Get full text

Herbert Howells’s “Two Afrikaans songs” (1929) by Heinrich van der Mescht

“…Howells probably consulted the Afrikaans-speaking South African mezzo-soprano Betsy de la Porte, who was a student at the Royal College of Music in London where he was teaching. …”
Get full text

CHRISTOPH WILLIBALD VON GLUCK AND THE DAWN OF THE REFORM OF OPERA by Noémi KARÁCSONY

Get full text

Herbert Howells’s “Two Afrikaans songs” (1929) by Heinrich van der Mescht

“…Howells probably consulted the Afrikaans-speaking South African mezzo-soprano Betsy de la Porte, who was a student at the Royal College of Music in London where he was teaching. …”
Get full text

Review of Hilary Poriss. 2009. Changing the Score: Arias, Prima Donnas, and the Authority of Performance. Oxford: Oxford University Press by Elliott S. Cairns

“…Readers may recall the 1998 production of Mozart's Le nozze di Figaro at the Metropolitan Opera in which mezzo-soprano Cecilia Bartoli, to much criticism, sang two arias in place of the two traditionally sung by her character, Susanna. …”
Get full text

La traduction anglaise de Maria Stuarda : paradoxes et contradictions d’une reine catholique et puritaine by Pierre Degott

“…These were no doubt justified by the presence on the ENO stage of the mezzo-soprano Janet Baker, a national icon in the 1970s. …”
Get full text

Orphée baro/queer by Raphaëlle Legrand

“…Butler) in order to deal with the wide range of voices attributed to Orpheus (baritone, tenor, alto or soprano castrato, female mezzo-soprano, countertenor) and with travesty roles. …”
Get full text

THE SOUND OF INDIA IN MAURICE DELAGE’S QUATRE POÈMES HINDOUS by Noémi KARÁCSONY

Get full text

Vokaalide ja klusiilide intensiivsussuhted laulmisel teksti arusaadavuse mõjutajana by Allan Vurma, Tuuri Dede, Veeda Kala, Einar Meister, Lya Meister, Marju Raju, Jaan Ross

“…Seventy-two sequences /a/–/k/–/a/, /a/–/p/–/a/ and /a/–/t/–/a/, sung by a mezzo-soprano on G4, were played to the listeners as stimuli. …”
Get full text

A Musical Italy: Michael W. Balfe’s Italian Experiences by Basil Walsh

“…In 1834 he made his debut at La Scala, Milan, singing opposite the renowned mezzo-soprano, Maria Malibran in Rossini’s Otello. He appeared again with Malibran in Venice early in 1835, singing once more in Rossini and Bellini operas. …”
Get full text

Visual biases in evaluation of speakers’ and singers’ voice type by cis and trans listeners by Jay Marchand Knight, Anastasia G. Sares, Mickael L. D. Deroche

“…These actors covered six voice categories from high/bright (traditionally feminine) to low/dark (traditionally masculine) voices: namely soprano, mezzo-soprano (referred to henceforth as mezzo), contralto (referred to henceforth as alto), tenor, baritone, and bass. …”
Get full text

Runāto un dziedāto latviešu valodas patskaņu [ī], [ā] un [ū] kvalitātes salīdzinājums by Juris Grigorjevs

“…It was observed during the current study that the transition from the chest register to the middle register had taken place between C4 and D4, which is normally observed in mezzo-sopranos. To make the interpretation of the influence of a variable pitch on the vowel formant pattern easier, all Latvian vowels were plotted in the psycho-physical F₂ʹ/F₁ (bark) plane. …”
Get full text

Optimality of human acoustic perception of natural sounds, and violin acoustics elucidated with a non-corporeal musical instrument made by fully air-coupled finite-element-modeling... by Krishnadas, Arun

“…This is found to vary from roughly 15\% in the male Baritone voice range to 25\% in the female Mezzo-Soprano and Soprano voice range before falling off to 15\% beyond. …”
Get full text

Zora D. by Isidora Žebeljan: Towards the new opera by Čičovački Borislav

“…The opera was written for four vocalists: the soprano, the baritone, and two mezzo-sopranos. The chamber orchestra has fifteen musicians. …”
Get full text