How to Write Meaningful Lyrics (with Pictures) - …
Below is a list of Fächer, their ranges as written on sheet music, and roles generally considered to appropriate to each. When two names for the Fach are given, the first is in more common use today. Where possible, an English equivalent of each Fach is listed; however, not all Fächer have ready English equivalents. Note that some roles can be sung by more than one Fach and that many singers do not easily fit into a Fach: for instance some sopranos may sing both Koloratursopran and Dramatischer Koloratursopran roles. In addition, roles traditionally more difficult to cast may be given to a voice other than the traditional Fach. For instance, the "Queen of the Night" is more traditionally a dramatic coloratura role, but it is difficult to find a dramatic coloratura to sing it (particularly given the extreme range). Therefore, the role is often sung by a lyric coloratura.
Jun 26, 2017 · How to Write Meaningful Lyrics
The spinto repertoire includes many roles written by Verdi, by the various verismo composers, and by Puccini. Some of these roles are extremely popular with opera audiences. Certain Wagnerian heroines such as Elsa, Elisabeth and Sieglinde are also sung by spinto sopranos. The fact that spinto sopranos are uncommon means that parts that are ideal for their voices are often performed by singers from other classifications, and more than a few lyric sopranos have damaged their voices singing heavier spinto roles.
Entr'acte is French for "between the acts" (German: Zwischenspiel, Italian: Intermezzo, Spanish: Intermedio). It can mean a pause between two parts of a stage production, synonymous to an intermission, but it more often indicates a piece of music (interlude) performed between acts of a theatrical production. In the case of stage musicals, the entr'acte serves as the overture of Act Two (and sometimes Acts Three and Four, as in the case of The Student Prince). In roadshow theatrical releases, films that were meant to be shown with an intermission, there was frequently a specially recorded entr'acte on the soundtrack between the first and second half of the film.
Professor Frank Pajares: Web Site Redirect
There was a time when I could write well in Chinese. In school, my essays were used as models; in the Army, where I spent a year of involuntary service between the ages of eighteen and nineteen, our squad leader gave me the choice between drafting a speech for her and cleaning the toilets or the pigsties—I always chose to write. Once, in high school, I entered an oratory contest. Onstage, I saw that many of the listeners were moved to tears by the poetic and insincere lies I had made up; I moved myself to tears, too. It crossed my mind that I could become a successful propaganda writer. I was disturbed by this. A young person wants to be true to herself and to the world. But it did not occur to me to ask: Can one’s intelligence rely entirely on the public language; can one form a precise thought, recall an accurate memory, or even feel a genuine feeling, with only the public language?
Mama Lisa's World of Children and International Culture
Perhaps the line between the two is, and should be, fluid; it is never so for me. I often forget, when I write, that English is also used by others. English is my private language. Every word has to be pondered before it becomes a word. I have no doubt—can this be an illusion?—that the conversation I have with myself, however linguistically flawed, is the conversation that I have always wanted, in the exact way I want it to be.
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The bass-baritone voice is distinguished by two attributes. First, it must be capable of singing comfortably in a baritonal tessitura. Secondly, however, it needs to have the ripely resonant lower range typically associated with the bass voice. For example, the role of Wotan in Die Walküre covers the range from F at the bottom of the bass clef to F# above middle C, but only infrequently descends beyond the C below middle C. Bass-baritones are typically divided into two separate categories: lyric bass-baritone and dramatic bass-baritone.
PAUL BOWLES BIOGRAPHY: A Biographical Essay by …
Chinese immigrants of my generation in America criticize my English for not being native enough. A compatriot, after reading my work, pointed out, in an e-mail, how my language is neither lavish nor lyrical, as a real writer’s language should be: you write only simple things in simple English, you should be ashamed of yourself, he wrote in a fury. A professor—an American writer—in graduate school told me that I should stop writing, as English would remain a foreign language to me. Their concerns about ownership of a language, rather than making me as impatient as Nabokov, allow me secret laughter. English is to me as random a choice as any other language. What one goes toward is less definitive than that from which one turns away.