Vol 2 Issue 2013

MIRELA ZAFIRI, A VOICE FOR ETERNITY

11. December, 2013|2013, Vol 2 Issue 2013|No comments

Laura DARTU

Abstract: Born in Lugoj, soprano Mirela Zafiri began taking piano, violin and guitar lessons during her first years at school. She attended the University of Music, Bucharest and received her degree in singing in 1997, under the supervision of professor Georgeta Stoleriu. In 1999 she graduated as master of vocal art at the same university and, in 2008 she obtained her PhD in music from the University of Music, Bucharest.

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GREAT INTERPRETERS DAVID OHANESIAN

11. December, 2013|2013, Vol 2 Issue 2013|No comments

Corneliu SOLOVĂSTRU jr.

Abstract: The master David Ohanesian is part of the great baritone triad together with Octav Enigărescu and Nicolae Herlea. They are all taught by the great baritone and teacher Aurel Costescu-Duca, worshiped by David Ohanesian, who has always called him “an artist teacher.” Aurel Costescu-Duca’s teacher was Dimitrie Popovici-Bayreuth – a titan of singing and of vocal pedagogy.

“I owe the city of Cluj a great deal when it comes to my artistic training,” cheerfully remembers David Ohanesian in his memories, and the central figure of the time he spent in Cluj was the unforgettable Dinu Bădescu.

In 1958 he already knew the score of the Oedipus opera by George Enescu, which was to become, as the master recognized, his dearest work from the repertoire, following Paul Constantinescu’s work, the Enescian masterpiece and it represented “the supreme satisfaction of my artistic career.” I was borne to sing Oedipus. Oedipus was the role of my life. My entire biography is centred around Enescu’s work. “Oedipus represents the quintessence of my career,” said David Ohanesian in a radio show entitled “Our musicians reveal themselves,” on February 9, 1979.

Although he sang on the greatest scenes of the world, and a greater period in Germany, David Ohanesian was always glad to come back to his country. Besides being one of the greatest opera interpreters of this country, he was also a great patriot.

If I were to sum up in one word the great art of the knowledge of singing, I would use the same term as Ohanesian and that is respect. Respect for his great personality, for the musical theatre, for the score, for the public and for the moral laws.

Keywords: Ohanesian, Oedipus, baritone, opera, career.

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EMIL PINGHIRIAC, THE LAST AUTOGRAPH

11. December, 2013|2013, Vol 2 Issue 2013|No comments

Mihai MAXIM

Abstract: In the autumn of 1960 it was celebrated, with the due pomp, the centenary of the University “Alexandru Ioan Cuza” of Iasi. Rectors of Romanian universities and of prestigious European universities aa well as numerous scientific, cultural  and political personalities in the country and from abroad attended this celebration.

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MODERN PERSPECTIVES IN PERFORMING OPERA SHOWS

11. December, 2013|2013, Vol 2 Issue 2013|No comments

Georgeta PINGHIRIAC

Abstract: “Opera – “The Verism”, “Madama Butterfly” by Giacomo Puccini. Cio-Cio-San”s scores, her behavior, her relations with other characters, the importance of the Japanese tradition are some of the main reference points of the main character; Puccini said about this opera that it is the most modernistic of all his works. “The impressionism” makes a short presentation of the evolution of impressionism from Debussy to Ravel. From Ravel’s work I have chosen “L’Enfant et les sortileges” (The child and the charms),and the objects that around him seem to take life.“Domnita din departari” (The far away lady) was composed by Mansi Barberis (1899-1988). The first night of the opera took place in Iasi, in 1976 and it is based on the medieval Frech story “Le Princesse lointaine” by Edmond Rostand. Lady Gerilinda is the main character of the opera. The character Gerilinda has got abstract and mythological dimensions.The fith subchapter, “The Expressionism”, focuses on the desire for the emancipation of the musical expression, the emotional tension, the subjectivity of a troubled era. Alban Berg by his opera “Wozzek” with lyrics by Georg Buechner, strengthens a stylistic, aesthetic and composition epoch.

KeywordsThe Verism, the Impressionism, the Expressionism, the emancipation of the musical expression, the most modernistic.

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STYLISTIC CONSIDERATIONS REGARDING THE VOCAL INTERPRETATION OF THE ROLE OF SCARPIA, OPERA “TOSCA” DE GIACOMO PUCCINI

11. December, 2013|2013, Vol 2 Issue 2013|No comments

Emil PINGHIRIAC

Abstract: Stage techniques and also the demands for creating a truthful character. In this context, the combination of music and words is primordial for a dramaturgical finality. Each character has his own moral or immoral personality, which may be ferocious or naïve generated by the musical vision. Scarpia’s behavior, his movements, his way of walking, his killer like appearance, his impulsiveness show the dimensions of his beast-like nature.

Keywordsthe demands of creating, dramaturgical finality, his killer like appearance, his impulsiveness

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THE VOICE IN LIEDS

11. December, 2013|2013, Vol 2 Issue 2013|No comments

Leonard DUMITRIU

Abstract: The present article deals with some aspects regarding the voice performing in lieds, first of all from the composer’s point of view. The way voice is approached by the composer of lieds is essential, that is why the authour tries to give some points of view as a result of his experience in creating such music. Further on, we discussed the way voice in lieds is considered from the perspective of the interpreter. A correct understanding of the text, a good pronunciation, the transmission of direct and subtle messages to the audience, assuming the posistion of various „characters”, all represent aspects that should be the focus of attention for the interpreter. In the end, the author presents with arguments his own opinions regarding the „opera” and the „lied” voices, their interferences, their differences, pointing out the responsibilities the one who „possess” such a voice should have.

Keywordsvoice, lied, opera, text, melody, rhythm, composer, interpreter, articulation, suppleness, character.

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INCORRECT DEGLUTITION AND DISPHONIA

11. December, 2013|2013, Vol 2 Issue 2013|No comments

L. POLI, O. ROMANO, G. HALITCHI, C. STROICI, V. BURLUI

Abstract: It has been observed that the subjects suffering from deglutition disorders show repeated functional disphonia – a more than 10% ratio of such episodes being recorded, comparatively with the normal population. A possible explanation may be offered by the analysis of the reciprocal influences manifested between the complex motion deglutition scheme and the utterance of the spoken or singing voice.

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THE COOPERATION BETWEEN THE CANTO TEACHER, THE LARYNGOLOGIST AND PHYSIOLOGIST – THE KEY TO PERFORMANCE IN THE VOCAL TRAINING OF YOUNG SINGERS

11. December, 2013|2013, Vol 2 Issue 2013|No comments

Paula CIOCHINA, Alexandru Dan CIOCHINA, Dan Mihai COBZEANU

Abstract: On the basis of our personal experience and from some representative works in the domain, the authors discuss and bring arguments for the necessity of an integrated multidisciplinary activity regarding the vocal training of the young singers in which an active part should be played by the teacher of canto, the laryngologist and the vocal physiologist.

Keywordslearning by assignation, internal phonatory sensitivity, vocal fold physiology, videostroboscopy

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VOCAL PEDAGOGY: AN ART BETWEEN CERTAINTY AND EXPERIMENTS

11. December, 2013|2013, Vol 2 Issue 2013|No comments

Gheorghe SOLOVASTRU

Abstract: The 20th and 21st centuries, centuries of great scientific progress in all domains, are also remarkable in the field of singing pedagogy by various disciplines, which highlighted the vocal technique: neurophysiology, phonetics, acoustics, phoniatry etc.

Unfortunately, the influence of these new points of view on voice is less evident in pedagogy: empiricism and experience are still the essential criteria in acquiring the art of singing. In this context, we also find the constant nostalgic reference to an epoch when artists knew how to sing and when maestro used to work with great patience to “ polish the beautiful sound”. Has ever been a golden age of singing and of the lyric art?

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ART AND WAR. FIRST WORLD WAR ECHOED IN PLASTIC ROMANIAN ART

11. December, 2013|2013, Vol 2 Issue 2013|No comments

Laura Sînziana CUCIUC ROMANESCU

Abstract: The participation of our country in the operations of the First World War, the bravery of Romanian soldiers on the battlefield, and also the sacrifice of the entire Romanian nation for the Great Union of December 1, 1918, represented, as in the War of Independence, a strong source of inspiration for the artists1.

Although the preference for the war scenes will see a significant decrease over time, during the conduct of the armed conflict and in the coming years there will be a special scale.

This kind of approach is, due to the outbreak of the First World War, completely different from that of the last century. European art of the late eighteenth and early nineteenth centuries was dominated by the visual representation of history based solely on its heroic side, an approach characteristic to Romanticism, which prefers to display exceptional characters in exceptional situations. The vast majority of artists concentrated on presenting exceptional character from at least two perspectives – acting figures and unusual moral qualities. They also expressed their ability to alter the course of history in a decisive  anner, approach that is perfectly consistent with the climate throughout the revolution that took place between 1789 and 1848. Instead, the period of the First World War corresponds only to the realistic representations, without pompous and brilliant details, where the heroic deeds are presented equally with peoples’ sacrifices.

Keywords: art, First World War, paintings

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