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7

To answer your question head on, an experienced teacher will listen to the student's voice for all the qualities you mentioned: "range, tessitura, and voice color". The teacher will then mentally compare those qualities to other singers that they know. They will also be comparing that voice to the kinds of voices they are used to hearing in various roles. In ...


4

Okay, here's an answer, although it might not be the one you're hoping for... Having listened through to Stravinsky's Mavra following the score a couple of times, I can't find material significantly similar to Blanter's Katyusha either. That doesn't mean, of course, that there is no possibility of a link, but to my ears there is no easily discernible one. ...


4

The full term is "prova all'italiana". There are numerous references to this online; nearly all of them linked with the German (almost) equivalent "sitzprobe". It is easy to understand the meaning of the German phrase, it is literally a "seated-rehearsal", where the singers sing with the orchestra, focusing attention on integrating the two groups. It is ...


4

OK, I think I've tracked this down. My college's library doesn't have the specific version of the score you're looking at, but I found the same passage in two different editions. Neither edition has measure numbers, and they deal with barlines very differently during this passage. In one edition, when Violetta starts the word "ah!" and sings the cascading ...


2

It sounds like a mistake in the score. Just like you occasionally see typos in published books, "errata" can pop-up every now and then in a score. I'd recommend using the nearest measure numbers before and after this one to confirm if it's just one fluke, or the entire score is mislabeled.


2

It's possible that it could have been a modern or contemporary piece, though without hearing the actual piece it is impossible to tell. Classical compositions have used many techniques to achieve a sense of dialog, and this has been going on for centuries. Some of my personal favorites are fairly modern (1800s). For example, in Peer Gynt, you can envision ...


2

I seem to remember that Mozart's "Bastien und Bastienne" is rather brisk in just a single act, maybe due to the limited attention span of the twelve year old composer.


1

Menotti's Amahl and the Night Visitors is 46 minutes, according to some random webpage, which might be under Gianni, by a smidgen, since someone mentioned 52 minutes for one particular recording. And Gianni is one of a set of three, which are roughly the same length I believe, though can't find any data. (It doesn't help that the librettist was a young man, ...



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