#mezzo - soprano

[higherentity]

[tato-acm]

domingo - 01. 10. 2023

Lovable mezzo-sopranos 🩵🎵

The fact that SJM has always loved Taylor Swift - and now her son is obsessed with her too (that’s so freaking cute 🤏🥹✨mini swiftie)

"Taran is obsessed with Taylor Swift. Aren't we all?" "I've always loved her. I think she's an incredible creator and like businesswoman and I have so much respect for her." “But now that Taran is obsessed with her- like, we've only listened to her music in the car. That's it, like all summer long."

I also love TS and I LOVE that SJM made Gwyn a mezzo-soprano too so that I can imagine Gwyn singing every time I listen to a Taylor Swift song 🥹🩵

my favorite mezzo-sopranos 🥰🙌

acosf - chapter 52

Gwyn’s playlist (mezzo-soprano artists - mostly TS 😌)

[determinedowl23]

Question for altos and mezzo sopranos: what’s your vocal range? And does your primary form of vocal practicing come chorus, musical theatre, opera, or somewhere else?

I’m a theatre kid who just joined a choir relatively recently, and aside from noticing my vocal style was very different than my friend. What we had in common, though, is that our range was VERY similar- the thing was that she was an alto and I’m a mezzo soprano. Every time I mentioned the phrase “mezzo soprano” to my choir director whenever he asked what my range was, he seemed to need to process that and then asked me to do the alto part. That made me feel like the concept of a mezzo soprano is more of a theatre and opera thing than in choir, but please correct me if I’m wrong!

The real reason I’m asking these questions is because in my musical theatre class, me and a group of other people are performing a song that has a soprano part. The leader of the group asked “so can anybody hit that note or are we all altos?” I told them that I could hit the note (E5, which I can hit relatively easily) and so they assigned me that role. That made me remember my friend from choir who occasionally sung higher notes that were around E5 and was also an alto. So now I’m just confused and wondering what the guidelines are to being an alto vs a mezzo soprano and whether those guidelines in a choir vs theatre vs opera vs anywhere else

I don’t actually know my full range off the top of my head, but I think it’s somewhere around F#3-G#5 (I can reach an E3 sometimes but not consistently enough that I’d consider it in my range) but I’ll update this if I find a more concrete answer to my own range

[sadiegirl2021]

DAY THREE - PRIESTESS

I wanted to imagine how Nesta felt in the moment when she was listening to Gwyn singing with the other priestesses. I found this album that fits so perfectly with how she describes it. Even the song names are so Gwyn!

@gwynweekofficial

_______

It was like a braid, the song—a plait of seven voices, weaving in and out, individual strands that together formed a pattern.

But Gwyn’s voice rose above them all, clear and powerful and yet husky on some notes. A mezzo-soprano.

Gwyn’s voice soared like a bird through the cavern as she started the third song with a solo, and Nesta closed her eyes, leaning into the music, shutting out one sense in order to luxuriate in the sound of her friend.

[davidtennantgenderenvy]

So proud of the work I’ve gotten to do on my collegiate opera debut! Iolanthe opens TONIGHT, and I can’t wait to introduce everyone to my interpretation of this sweet, courageous and free spirited fairy that I’ve grown to love so much.

[very-grownup]

Over on bluesky I got a reminder of this, one of the many highlights of the 2019/2020 Met production of Handel's Agrippina, with Kate Lindsey as supreme fuckboy Nerone. A masterclass in full body performance and lung capacity and she's just so fucking good.

[th3-0bjectivist]

Dear listener, I understand that having a white dude on Tumblr recommending excellent black music makes about as much initial sense as me suggesting that you upgrade your home to cutting-edge VCR and landline phone technologies. Given the current racial tensions in the US right now, all I ask is that you give this white boy’s recommendation the old community college try. This week the focus will be on Santigold, a cross-genre artist that deserves way more attention than is afforded to her. I’ve been listening to Santigold’s music for nearly a decade, and I’ve said it before, but you guys can keep your Cardi B’s and your Nikki Minaj’s because when I’m hungry for excellent music, I come to the table for something rare, experimental, smart and versatile. Santigold delivers all of that, and more. Smash play on Look At These Hoes from her 2012 album Master of My Make-Believe, and if it pleases you, join me for rolling fields of gold below.

A genuine music industry trailblazer, Santi White started off her career as a mere A&R (her job was to find promising new artists and bring them in to sign contracts) for Epic Records. This Philadelphia-born multitalented maven started collaborating with musicians, and then in 2001 became the lead singer in a ska band called Stiffed. The best part of this group’s music was the vocals and lyrics, and after disbanding in 2005 or so, Ms White embarked upon her solo career. A solo career that has lasted nearly two decades to this year. There’s an island vibe to her music, and I’m not just talking about the style. Her music feels different than anything mainstream in terms of raw brain-power, exceptional flow and overall depth of meaning. She makes music that thinks as much as it works to go against the mainstream grain. She deserves respect and legitimate accolades for sticking to her guns and staying genuine through her career, rather than selling out and producing the equivalent of another WAP just for the sake of raking in millions from people with questionable taste in music. Along with having a sultry mezzo-soprano voice (my personal favorite lady voice type) her style is a mishmash of hip-hop, new wave, punk and electro. If you listen to her jams and don’t find your head and body bobbing to her beats, I believe I can officially pronounce that you have no actual soul in your body! If you spend any time at all studying the deeper meaning behind her jams, you will find complex themes of resilience, perception of reality and an overall complexity of character which few, if any ‘similar’ artists can even approach without immediately appearing to be outside of their mental depth. Just below you’ll find the music video for L.E.S. Artistes from her 2008 album Santogold. Enjoy!

As the first song on this post strongly suggests, Santi White ain’t no booty hoe. She’s highly educated, she’s a mother, and in terms of eloquence of execution… she’s an absolute industry badass. You owe it to yourself to take a deep dive into Santigold’s catalog and I implore you to revere artists like her as the mega-talents they truly are. Image source: https://tomtommag.com/2012/05/brooklyns-golden-child-santigold/

[auditionsuggestions]

hello!

I’m looking forward to a production of Into the Woods. I’m a teenager in high school and the eldest person auditioning. I don’t know much about singing. My range is G5-A3. Apparently my voice is very sweet sounding and whenever I sing I sound sad.

My main question is knowing which role to go for and maybe recommendations for the song for the role. I’m sorry if this is too much to ask. Also if you have any additional questions please ask.

That's exciting! Based on your range and the description you've given, Little Red, Jack's Mother, and Cindy's Step Family (Step mother, Florinda, and Lucinda) are all within your range (Granny is also possible, but since she only really sings in an ensemble capacity, we'll leave her out in terms of audition material). Sweet and sad may also get you considered for Cinderella's Mother (a little high for you as it goes up to an A5, but don't count yourself out. A whole step is a totally possible stretch to make at that place in the voice. And if you can stretch up to that, Rapunzel is also possible and fitting for your tone quality).

For Little Red: The Glamorous Life from A Little Night Music (the film version--one of the few good things about that film adaptation. Audra McDonald has a beautiful rendition you can reference); Everlasting from Tuck Everlasting; or, if you can find a solo cut, I Know It's Today from Shrek (this cut of Morning Person would also work well)

For Jack's Mother and/or Cinderella's Stepmother: Wait from Sweeney Todd or Sensitivity from Once Upon a Mattress

Cinderella's Mother/Rapunzel: Come to my Garden from the Secret Garden or One More Kiss from Follies.

Florinda/Lucinda: Stepsister's Lament from the R&H Cinderella (very on the nose as a choice, but fun) or (perhaps a little young and bratty, but so very step sisters) I Want it Now from Willy Wonka and the Chocolate Factory.

As for which one to go for, that's something I can't really advise on without knowing how tall you are compared to the other kids auditioning, how old you read next to them, actually hearing your voice, etc. Go for the role that most speaks to you.

Break a leg!

[ainewhitehart]

🥀🌻~FAERY MAGICK~🌻🥀| Áine White Hart | Music & Video Preview

👑Queen of The Fae👑 | Celtic Goddess Music | Áine White Hart

I am a female musician & composer, I started using ai image & video generators to make videos for my songs inspired by Celtic Goddesses of my faith, As I saved for my microphone I released instrumental tracks created using my Digital Audio Workstation & inline midi editing as although I now have the microphone I am now saving for an electric guitar (it's a long story that I won't bore you with but I lost all my professional expensive musical equipment some years ago.) So, desperate to make music again I used the resources that were available to me, My computer & Acid Pro Suite... THEN CAME AI MUSIC!!! So I am using it as a tool to re-write my Goddess Songs... this is my story so far!

🌈PLEASE COMMENT, LIKE & FOLLOW 🦄

❤️THANK YOU FOR YOUR SUPPORT🩷

[lazydestinynight]

"Sine Titulo" Zdzisław Beksiński

[higherentity]

[a-three-part-mini-opera]

does anyone know like an app that actually helps you sing better or something?? Cause I had a voice teacher but now I'm too broke and i still suck at singing

[crushondonald]

"Someone had to be the first - and why not me?!"

GRACE BUMBRY - American opera singer

4 January 1937 - 7 May 2023

Mezzo-soprano Grace Bumbry was known for her fiery passion and dramatic performances on the stage. With a career spanning over 60 years, she was part of the pioneering generation of Black opera singers that followed Marian Anderson, paving the road for later classical musicians and opera singers. With her mastery of the bel canto technique, Bumbry is one of the more successful singers who made the difficult transition from mezzo-soprano to high soprano. She performed at such opera houses at Royal Opera House, La Scala, Met Opera, Basel Opera, and Philadelphia Lyric Opera Company among many others. - LA Opera org

Grace Bumbry as Venus in Richard Wagner's "Tannhäuser" at the 1961 Bayreuth Festival, at age 24, the first black singer to appear there, which earned her the nickname "Black Venus". And she caused a sensation: while conservative opera-goers were outraged at the idea, Bumbry's performance was so moving that by the end of the opera she had won the audience over and they applauded for 30 minutes, necessitating 42 curtain calls. ✨️

... may she rest in peace 🥀

[lunaghost13]

I was singing a little of What If by Emilie Autumn last night and Cosette decided to jump on the chair behind me XD

[opera-ghosts]

Wanda Wermińska - Libiamo ne’ lieti calici (Giuseppe Verdi, "La Traviata")

Wanda Wermińska (18 November 1900 – 30 August 1988) was a Polish operatic dramatic soprano and mezzo-soprano.

made her operatic debut in 1923 at the Grand Theatre, Warsaw as Amneris in Verdi's Aida with great success. For the role of Carmen in Bizet's opera, she took dance lessons with the flamenco dancer La Argentina. In operas such as Il trovatore, Un ballo in maschera, Don Carlos, Fidelio, Le nozze di Figaro, Andrea Chénier, Lohengrin, Tannhäuser, Die Walküre and Halka she took on more than forty roles in the mezzo-soprano and soprano genres in the 1920s.

In 1929, Wermińska left Poland and made guest appearances in Vienna, Berlin, Bucharest, Prague, Riga, Stockholm, Copenhagen, Milan, Rome, Venice, Madrid and Alexandria, among other places. In Budapest she appeared alongside Feodor Chaliapin in Faust, which invited her to perform in Boris Godunov at several European theatres.

During the period of the Second World War, Wermińska lived in South America, where she had engagements in Argentina (Teatro Colón), Brazil, Chile and Mexico, under the conductors Bruno Walter Fritz Busch and Wilhelm Furtwängler and with soloists such as Kirsten Flagstad, Maria Caniglia, Fedora Barbieri, Beniamino Gigli, Lily Pons and Mario del Monaco.

She returned to Poland in 1947, where she continued to perform as an opera and concert singer, also on radio and television, and worked as a music teacher. She was highly regarded as the "Mother of Polish Opera".

[kkcosplayproductions]

Another SpongeBob the Musical cover as my college closed the show last Sunday! Sorry for any audio quality dips as I had to record in a different space. Hope you enjoy!

-KK(She/her)