Notes on Three Dissertation Performances: Opera and Recital in the Twenty-First Century

Two recitals and an opera role were performed in lieu of a written dissertation. The following program notes and character analysis are the culmination of work as a doctoral student at the University of Michigan and represent vocal and stage artistry, creative exploration surrounding twenty-first century performance, and scholarly research in the field of voice performance. The three performances display facility of vocal style in music from the Baroque Era through the Twenty-First Century and include a variety of languages with selections in French, German, Spanish, and English. By bringing traditional music to the stage with creative angles, thinking about new interpretations of performance settings and roles, and exploring repertoire written within the current century, the three performances endeavored to look at how musical performance can continue to evolve in the twenty-first century. The analysis of the operatic role of Le Prince Charmant in Jules Massenet’s Cendrillon explores the idea of pants roles in nineteenth century opera as a vehicle for twenty-first century gender expression, by not conforming to stereotypical societal roles and providing an avenue for non-binary expression on the opera stage within traditional opera canon. The recital “Bon Appétit! (and other disasters)” flipped the traditional recital experience on its head by parodying aspects of televised cooking shows, television commercials and recital performance. It included music from the Baroque through the Twentieth Century, featuring French and German art song and American compositions, as well as operetta and opera selections while highlighting comedy onstage in recital and seeking to reimagine the recital space for twenty-first century audiences. The third performance, “The Sounds of Reminiscence” featured two pieces by Jake Heggie and looked at twenty-first century musical compositions through composers’ use of pluralism and how Heggie’s specific use of hybrid genre allows for aural recall to layer meaning throughout his works. Recital 1: In lieu of a recital, the role of Le Prince Charmant in Jules Massenet’s Cendrillon was performed on November 4 and 6, 2021, at the Power Center for the Performing Arts in Ann Arbor, Michigan; Abbigail Coté, director and Kirk Severtson, conductor. Recital 2: “Bon Appétit! (and other disasters)” was performed on December 7, 2021 at the Walgreen Drama Center, Stamps Auditorium in Ann Arbor, Michigan; Mahour Arbabian, piano. Recital 3: “The Sounds of Reminiscence” was performed on March 7, 2022 at the Walgreen Drama Center, Stamps Auditorium in Ann Arbor, Michigan; John Etsell, piano.AMUMusic: PerformanceUniversity of Michigan, Horace H. Rackham School of Graduate Studieshttp://deepblue.lib.umich.edu/bitstream/2027.42/172639/1/bests_1.pd