The Castrati Research Paper

C. I am not really a fan of opera. I have heard this song before. I do not know if I would attend an opera or not. I guess it would depend on which opera it is. The performance was done well. I have heard of Pavarotti before and he always does great job from the songs I’ve heard.

In my opinion, that is the reason why we listened to this piece of music. To try and be exposed to a work that has a large supply of instruments and a choir at the same time. From listening to it, they did a very good job of incorporating the choir with the music. The choir was also very synchronized as well. They did not get too high or too low as a group. One of the differences with this piece of music is they incorporate different types of music and the choir sings from the very beginning. One thing that was very enjoyable was how strong and powerful the choir sang at the end of the piece. Once, again, the most difficult thing about listening to this piece was the lack of understanding any of the

I have listened to this song but I found the performance by C-Sus Voices was more fun and enjoyable. Each member played as an instrumental roles as bass, beatbox, low and high notes supports as an acapella style which without any instrument. In this performance, I love the atmosphere and the moods that the groups brought out. In this pieces, it didn’t look like they were performing but they really played and enjoyed what they were doing, which also influence the audiences’ moods. Even though Maggie Niscasio the one who sang this song was really tired, but they seemed brought me and audiences a relaxed moment and an enjoyable atmosphere. Also, the song “Singing in the Rain” was another piece that was played by C-Sus Voices, which mixed with Rhianna’s Umbrella. This performance gave me different feelings by combining two songs as one. By singing these two songs together in the Jazz style, C-Sus Voices seemed performing a new song c and matching perfectly between the Rain with the Umbrella. Also in this performance, I loved the way they played the songs and the atmosphere. Overall, I felt really relaxed and I enjoyed the performance played by C-Sus

Another song the choir performed was O come, O come, Emmanuel. The song was much different from the rest of the songs performed to this point, and the choir had use of many different instruments. The song was slow, soft, warm, and rich. On this song, the choir had splendid diction, and the words were easily understood. The artist cut off at appropriate times, and sang soft and loud as directed with much emotion. The choir blended well together, and the sound was free and

This was followed by a performance by vocalist K. Omari Wilkerson. He has a very distinctive voice that is pleasant on the ear.

Watching this performance was the most inspirational and admiring show that I have ever seen. The amount of work each and everyone of this students put into their work was unexplainable. Each dance told a story. Two of my favorites were “Sistas of Sorrow “ and “527”. They both expressed a powerful story that was just breath taking. With their customs that perfectly gave you feel of the time that the story was taking place.

We went to see this last evening (opening night for this program) and were blown away. Never having seen anything on the program before, I didn't know what to expect, but each piece was magnificent. Stanton Welch's "Tu Tu" seems to me to be a kind of personal love song to ballet. The opening and overall structure reminded me of Ashton's "Sinfonietta" with a very energetic first movement followed by a stunningly beautiful slow movement and then a fast and again more lighthearted finale. It was the second movement that amazed me the most. A solo ballerina slowly emerges from darkness and seems to reflect on her career as a ballerina with tenderness and sadness. The mood of this piece was masterfully created. It was beautifully and

The performers and musician's ability to perfectly perform each of the movements captivated the amazement of the audience. The piano played by Mark Holmstrom, stuck out

I feel that the fourteen members of chamber orchestra and the two vocalists did an outstanding job. This piece was well put together. I loved the harmony that was brought forth between the orchestra and the vocalists. The two vocalists a tenor known as Paul Groves and a soprano known as Anna Larson, did a beautiful job staying in tune. The way that their voices went back and forth in harmony was just beautiful.

It was extremely interesting to listen to the various performances of this piece. Since this piece was written for a specific purpose and evolved, I enjoyed hearing and view the different artistic changes. Music is always evolving and it is fascinating to see one piece by one composer evolve. I enjoyed the singing in the original version better. The music in the original

Albert Castiglia is an electrifying Blues guitarist, singer and songwriter. He is a talented and enthusiastic artist along with his drum player and bass player. Albert Castiglia led his band on vocals and guitar. His performance at Biscuits and Blues located in the heart of San Francisco on May 27, 2016 was full of heartfelt songs, laughter, and humor. The atmosphere was upbeat in an intimate yet inviting, and comfortable setting. The audience waited patiently and eagerly for the performance of Albert Castiglia while enjoying some cocktails and Southern cuisine. A mixture of people ranging in age and ethnicity surrounded the stage ready with their cameras to record and take home a glimpse of an electrifying Blues artist. Soon as Albert Castiglia

However, the high notes in the tenor part on measures 113-114, singing an octave from G3 to G4, could be challenging for amateur singers as this is a high pitch that requires a soft dynamic. The author suggests that the conductor use a falsetto voice or simply assign only the Tenor I to sing. For soprano, the highest note is G5 in this movement. The most challenging section would be measure 83, singing the repeating G5 and then moving down by a half step to F-sharp5. This could create intonation problems for amateur singers. In this section, the basses are holding the D4 for three beats, which could be a challenge for amateur singers as well. The author would suggest the conductor not to sing this part too heavily although it is marked as forte in the score.

The piece that I enjoyed the most of “beautiful dreamer” was the fourth performance that was sung by Marilyn Horne. The performance that Marilyn sung was beautiful I liked how she was able to sing that song that mostly men would sing. When I first saw the video and I heard her sing I though in my head a said that the song wasn’t meant for the men in the other three performances but I thought that the song was made for her. In the song beautiful dreamer, the singer Marilyn Horne sings in a steady tempo, she doesn’t sing to fast nor to slow. The piano in the performance doesn’t get to loud and I like that because it doesn’t over shadow the singers voice. The singer and the pianist are going along the same tempo but when the singer doesn’t sing

I need the Ariana voice in particular, and she will surprises audiences with her beautiful voice. That is an awful loud voice from such a frail figure. She exactly understood that how to do abdominal breathing during her voice becomes stable on the high notes. Farthermore, it is easy for me to ear high sounds well. Even it is a difficult piece to song, the sunger Ariana had amazing voice to hitting the high tones. While I listend her voices, she sings with a sure ear for pitch, and even it was just an ordinary voice, yet she sang in tune. She has even more gentle voice. While Ariana’s voice is not technically brilliant it has a quality which is unmistakable. However, beginning of the stage, she closed her eyes to feel the song more deeply,

While Fairnelli was still a student, his father died unexpectedly at the age of 36, which led his family in great poverty. In order to maintain economic security and to become the greatest singer of all time, Fairnelli decided to castrate. As a result, Farinelli was able to keep his powerful male voice that allowed him to sing any range of voice parts in opera, including high-pitched soprano parts. Shortly after Farinelli’s first few public performances, he became popular in many cities as a young talented singer. In addition to singing, Farinelli was a harpsichordist and a composer. He composed several cantatas and arias, including the famous piece, Ossequiosissimo ringraziamento, which he also wrote the lyrics. Therefore, even though Farinelli focused on his vocal the most, he was a gifted musician in all parts.