Inspiration For And Interpretation Of The Vocal Writing For The Title Character In George Enescu's Opera Oedipe
Ballantyne, Chadley
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https://hdl.handle.net/2142/75881
Description
Title
Inspiration For And Interpretation Of The Vocal Writing For The Title Character In George Enescu's Opera Oedipe
Author(s)
Ballantyne, Chadley
Issue Date
2015-05
Director of Research (if dissertation) or Advisor (if thesis)
Tipei, Sever
Doctoral Committee Chair(s)
Professor Sylvia Stone
Committee Member(s)
Diazmuñoz, Eduardo
Magee, Gayle Sherwood
Department of Study
School of Music
Discipline
Music
Degree Granting Institution
University of Illinois at Urbana-Champaign
Degree Name
A.Mus.D. (doctoral)
Keyword(s)
George
Enescu
Oedipe
opera
music
writing
interpretation
Language
en
Abstract
The titular role of George Enescu’s opera, Oedipe, is one of the most challenging bass-baritone roles in the literature. With a vast scope and a rare level of notational specificity, the part ranges from Wagnerian lyricism to tragedian declamation. In addition to quartertones, the part also calls for numerous extended techniques and timbral effects. In 1909, Enescu saw the great tragedian actor, Jean Mounet-Sully, give an arresting performance of Jules La Croix’s adaptation of Oedipe-roi by Sophocles. An examination of Mounet-Sully’s wide range and variety of extended vocal techniques as evidence on the 1900 record of his performance of Oedipe-roi shows how his unusually virtuosic voice and declamatory style inspired Enescu to write Oedipe. By analyzing the actor’s performance with the computer application VoceVista, it is possible to see how he used classical vocal technique in his declamation. This information can help a singer prepare Enescu’s music effectively, authentically, and without compromising vocal technique or clarity of diction. It will also offer insights into ways to successfully perform extended vocal techniques found in other twentieth- and twenty-first-century operas.
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