EastWest Voices Of Opera [WiN] !!HOT!!
VOICES OF OPERA is perfect for any composer looking to add a pristine operatic sound, and fits in perfectly with EastWest`s recent slate of award-winning vocal products HOLLYWOOD CHOIRS, VOICES OF THE EMPIRE, and VOICES OF SOUL.
EastWest Voices of Opera [WiN]
Voices of Opera is perfect for any composer looking to add a pristine operatic sound to their composition, and fits in perfectly with EastWest's slate of award-winning vocal products such as Hollywood Choirs or Voices of Soul. It features the sensational vocals of soprano LARISA MARTINEZ (Andrea Bocelli) and tenor CARLTON MOE (Phantom of the Opera).
EastWest are an award-winning producer of virtual instruments, with 30+ years experience and a clientele that spans the music, film, television, games, multimedia and performing arts. EastWest owns and operates a large recording studio complex in Hollywood, where more than 136 Grammy nominated tracks were recorded or mixed over the last decade.
"I have always loved opera", said co-producer Doug Rogers "at its best, it can send shivers down your spine. And that's what happened when I saw Andrea Bocelli and Larisa Martinez performing together at the Hollywood Bowl. Larisa agreed to work with us on VOICES OF OPERA. The recording sessions were sensational. She has the voice of an angel, her pitch is perfect, her range and vocal power unsurpassed. Then the opportunity arose to add tenor Carlton Moe (Phantom of the Opera) to the project.
Voices Of Rapture is our premier operatic solo vocal collection for Kontakt Player (VST, AU, AAX), featuring 4 outstanding singers covering the classical soprano, alto, tenor and bass ranges.
Nichole Dechaine received her Bachelor of Music degree from the University of Redlands and her Master of Music and Doctor of Musical Arts degrees in vocal performance from the University of California, Santa Barbara. She has performed a variety of leading roles in opera and musical theater productions, and regularly appears as soloist with numerous choirs, orchestras, and ensembles in the US and abroad. She enjoys working with many composers performing their works and recording for film. In addition to performing Dr. Dechaine teaches private voice and music courses at Westmont College and Santa Barbara City College and maintains an active private voice studio.
Born in Germany, Weill achieved early fame through works created in partnership with the playwright Berthold Brecht, most notably, Die Dreigroschen Oper (The Threepenny Opera) and Aufstieg und Fall der Stadt Mahagonny (Rise and Fall of the City of Mahagonny). Forced into exile by the rise of Hitler in 1933, Weill spent a few years in Paris before eventually moving to New York. In the United States, he found success on Broadway through collaborations with such lyricists as Ira Gershwin, Langston Hughes, and Ogden Nash on such shows as Lady in the Dark, One Touch of Venus, and the opera Street Scene. Several roles in these productions were premiered by his wife, Lotte Lenya, the singing actress who championed his works even after their divorce and his death.
The production will be designed by Greg Silver with lighting by Aimee Hanyzewski. Sydney Krieger and Hyewon Park will be the costume designers, Laura Meinders the props designer, and the production stage manager will be Shelly Sarauer. Others on the production staff include Thomas Kasdorf, rehearsal pianist; Courtney Kayser, operations manager for University Opera; and Ethan White, lighting board operator.
Following each performance of The Turn of the Screw, there will be a talkback session with the cast and members of the artistic staff. Audience members will be given the opportunity to ask questions and discuss the issues raised by this opera.
The production will be designed by Frank Schneeberger with lighting design by John Frautschy. Sydney Krieger and Hyewon Park will design costumes, Meg Huskin will be the assistant director, Holly Berkowitz the dramaturg, and the production stage manager will be Meghan Stecker. Other staff include Chan Mi Jean and Satoko Hayami, rehearsal pianists; Erin Bryan, operations manager for University Opera; Teresa Sarkela, scenic charge; and Ethan White, lighting board operator.
The production will be directed by Ronis and conducted by Kyle Knox, with musical preparation by Daniel Fung, assistant adjunct professor of vocal coaching. Members of the cast will include Erin Bryan and Katie Anderson, who will split the role of the Governess, Alec Brown (Prologue and Quint), Cayla Rosché (Mrs. Grose), and Anna Polum (Miss Jessel). The roles of the children in the opera will be played by Elisheva Pront and Emily Vandenberg (Flora) and Simon Johnson and Amitabha Shatdal (Miles). Set design will be by Frank Schneeberger; lighting by John Frautschy, and costumes by Sydney Krieger and Hyewon Park. Additional staff include Greg Silver, technical director; Meg Huskin, assistant director, and Meghan Stecker, stage manager.
The physical production will be designed by Greg Silver. Costume design is by Sydney Krieger, and Hyewon Park, lighting design by Kenneth Ferencek, props design by David Heuer, and the production stage manager will be Alec Brown. The production staff include Erin Bryan, operations manager for University Opera; Jimmy Dewhurst and Daniel Lewis, master electricians; and Ethan White, lighting board operator.
The three-day event will celebrate the newly created position of Director of University Opera, funded by the recently established Karen K. Bishop Fund. Karen Bishop was the founder of Rainbow Play Systems, makers of playground equipment, but sold it in 2003 to pursue her first love, opera. She gained masters and doctoral degrees at UW-Madison, and prior to her death in January 2015 after a struggle with cancer, she asked her husband Charlie Bishop to support the university opera program.
The University Opera program was established in the early 1960s with Karlos Moser as director. Moser retired in 1997 and was followed by William Farlow, who retired in 2014. The position is now filled by David Ronis, visiting assistant professor of opera.
University Opera is a cultural service of the School of Music at the University of Wisconsin-Madison whose mission is to provide comprehensive operatic training and performance opportunities for our students and operatic programming to the community. For more information, please contact opera@music.wisc.edu.
Hwang's early plays concerned the role of the Chinese American and Asian American in the contemporary world. His first play, FOB,[5] explores the contrasts and conflicts between established Asian Americans and "Fresh Off the Boat" new immigrants. The play was developed by the National Playwrights Conference at the Eugene O'Neill Theater Center and premiered in 1980 Off-Broadway at the Joseph Papp Public Theater. It won an Obie Award.[6] Papp produced four more of Hwang's plays, including two in 1981: The Dance and the Railroad, which tells the story of a former Chinese opera star working as a coolie laborer in the 19th-century American West,[7] and Family Devotions,[8] a darkly comic take on the effects of Western religion on a Chinese-American family. This was nominated for the Drama Desk Award. Those three plays added up to what the author described as a "Trilogy of Chinese America."[9]
Hwang's best-known play was M. Butterfly, which premiered on Broadway in 1988. The play is a deconstruction of Giacomo Puccini's opera Madama Butterfly,[11] alluding to news reports of the 20th-century relationship between French diplomat Bernard Boursicot and Shi Pei Pu, a male Chinese opera singer. Shi purportedly convinced Boursicot that he was a woman throughout their twenty-year relationship.[12] The play won numerous awards for Best Play: a Tony Award (which Hwang was the first Asian American to win), the Drama Desk Award, the John Gassner Award, and the Outer Critics Circle Award. It was the first of three of his works to become a finalist for the Pulitzer Prize for Drama.
The success of M. Butterfly prompted Hwang's interests in many other different directions, including work for opera, film, and the musical theatre. Hwang became a frequent collaborator as a librettist with the world-renowned composer Philip Glass.[13]
In the new millennium, Hwang had two Broadway successes back-to-back. He was asked by director Robert Falls to help co-write the book for the musical Aida (based upon the opera by Giuseppe Verdi). In an earlier version, it had failed in regional theatre tryouts. Hwang and Falls re-wrote a significant portion of the book (by Linda Woolverton). Aida (with music and lyrics by Elton John and Tim Rice) opened in 2000 and proved highly profitable.[18]
Hwang has continued to work steadily in the world of opera and musical theatre, and has written for children's theatre as well. Hwang co-wrote the English-language libretto for an operatic adaptation of Lewis Carroll's Alice in Wonderland with music (and part of the libretto) by the Korean composer Unsuk Chin. It received its world premiere at the Bavarian State Opera in 2007 and was released on DVD in 2008.[25]
Hwang wrote the libretto to Howard Shore's opera The Fly, based on David Cronenberg's 1986 film of the same name. The opera premiered on July 2, 2008, at the Théâtre du Châtelet in Paris, France, with Cronenberg as director and Plácido Domingo conducting.[26]
In the fall of 2016, the San Francisco Opera premiered Dream of the Red Chamber, an opera by Hwang and Bright Sheng, based on the eighteenth-century Chinese novel of the same name.[38] In the summer of 2016, Hwang became the chair of the board of the American Theatre Wing.[39]
The unusual opera was selected as a star vehicle in which the mezzo Stephanie Blythe could play the trousers role of Tancredi. She made a powerful impression, justifying the choice. With conductor Corrado Rovaris at the helm, her voice played like a majestic organ, swelling with rich tone and huge volume. She also maintained a baritone-like timbre that easily helped her pass as a male warrior. From her highest notes to her lowest, her voice was seamless, with no shifting of gears. 041b061a72