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Marilyn Horne

740 Words3 Pages

The rendition of Habanera performed by Marilyn Horne as Carmen from Bizet’s opera is a very interesting piece. Marilyn’s vocal performance was very well done, and included many positive aspects such as, an excellent accompaniment of the orchestra, a vast dynamic range present throughout the song, and the emotion present throughout the entire song. Marilyn sang the piece solo with the accompaniment of an orchestra; which, through their synergy, Marilyn utilized the entire orchestra as an extension of her own voice. The dynamics of her voice was vast, ranging from soft and sweet through bellowing in power; which, invoked expression and set the atmosphere for the performance. The piece was written in French dialect; however, due to the expression …show more content…

The aspects of Paul’s vocal performance that I noticed was that he had great diction throughout the song, his projection of voice was excellent, and the ranges of notes were limited. The entire performance contained great diction; for instance, when Paul intentionally shortened “blessed” to “bless” you could tell he did it intentionally for the purpose of expression. Paul maintained phenomenal projection of voice throughout the song; therefore, when he shifted the dynamics of his voice from soft to loud you could feel the change. Lastly, the range of notes Paul sang was limited; however, the range limit is not as noticeable, due to his vocal projection. My assumption is that Paul hit the tessitura of the song frequently throughout the performance to maintain the melancholy tone portrayed through the lyrics and guitar …show more content…

Throughout the piece there were a few notable comments regarding Juan’s singing voice as follows his vibrato is constant and in some cases held for a long time, he is voice is full of expression, and his resonance is absolutely amazing. The vibrato he uses throughout the piece is a little bit excessive; however, there were some words that were held for a long time at a very high pitch that was impressive. I perceived the orchestra and Juan to work together expressively; because, his vocals and the orchestra were interweaving to produce the story of the opera. Lastly, Juan was particular about the notes he belted out through in terms of dynamics. Despite the dynamics of the piece, you could determine which notes he was placing emphasis

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This displayed an affection to Paul. A feeling to what he was really part of and not just a team or sub, but a friend, true being, and ignoring the thick glasses that everyone saw of

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“Don’t be afraid to feel as angry or as loving as you can, because when you feel nothing, it’s just death.” – Lena Horne. Lena Mary Calhoun Horne was born June 30, 1917 in Brooklyn, New York to Edwin Horne Jr. and Edna Scottron. During the Great Depression Lena got her first job in show business when her parents pulled her out of school to help support her family during times of financial hardship. Although she felt that she was not a great singer, she was hired at the Cotton Club to be part of the chorus.

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Helias’s “Story Line” flows through African-tinged percussive spells. The theme statement is supplied in unison by sax and piano, and the riveting improvisations make us alert at all times. Jones, whose slightly dissonant contortions are never gratuitous or frivolous, proves he’s a quick-witted explorer while Ortiz’s rhythmic sense and levels of inventiveness thrust him into the limelight of modern pianism. An uncanny dark mood envelops the title track, a solemn piece composed by the bandleader to be performed by piano trio formation. It opposes to the Parisian charm of Andrew Hill’s “Snake Hip Waltz” whose bohemian feel is instantly absorbed.

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She perfectly balanced the speed of the song with the powerfulness of the meaning of the words. She holds her mouth longwise and drops her jaw. This makes her vowles taller and rounder, versus wider and flatter. The shape of her vowels add to her broadway like style and allows her the speed necessary for the song. Her diphthongs are handled amazingly.

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Granjeno used language to show where the characters grew up. The way Juan told the story suggested that he grew up in "the hood." Stereotypically, people from poorer neighborhoods grow up around slang, drugs, and violence, and kids usually imitate what they see on a day-to-day basis. The way Juan talked would be a give away on where he came from. Usually only people from "the hood" talk in a more "gangster" way.

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Lena Horne Actress and Activist Lena Horne was a star who broke racial barriers. In a suppressive 1900s America, an African American woman was determined to step into the limelight to defy the racial standards of her time. She faced an uphill battle trying to create a career from her childhood, with little support from her own family, let alone a white dominated industry. When she finally proved to be an astonishing performer and struck a deal with a major Hollywood studio, she was still held back by racial segregation laws still in effect in the south. Horne recognized her influence and used her talents to go from actress to activist.

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According to Hochschild and Machung (2012), “Women can have fame and fortune, office affairs, silicone injections, and dazzling designer clothes, in Brown’s world. But the one thing they can’t have, apparently, is a man who shares the work at home (26).” This statement explains that even the most attractive and wealthy women are still doing the second shift. why the second shift is put on the shoulders of women in heterosexual marriages. In The Cosby Show, the role of Clair and Cliff Huxtable in their home demonstrates their statement.

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(Howard 107). Paul’s versatility is exhibited by his vast repertoire of song selections moving from African-American Spirituals to Classical Operatic to show tunes to songs of liberation expressing the desire for freedom. The ability to sing renditions of songs in many languages to audiences around the world is another illustration of remarkable gifts that Mr. Robeson

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The orchestra maintained the musical score and provided ornamentation and emphasized the melodic contour of the singer’s vocal line. Without reading the subtitles, there is such emotion and energy in the male singer’s performance that it is easy to see, along with the physical positioning and facial expressions of the female performer, that there is an impassioned dialogue being given from him to

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There were many musical elements heard throughout these pieces and it was interesting to hear how they varied in each song and suite. In Intermezzo, it began with a quieter violin solo melody creating a monophonic texture. Soon after, it became accompanied by the other violins and cellos, then the full ensemble came in creating a moderate, flowing melody at about mezzo forte and switching to a polyphonic texture. Next, there was a harp solo at forte with many crescendos and decrescendos. The full ensemble enters again raising the dynamics to forte before decrescendoing and slowing down to end with a held note and final tone.

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