This paper investigates how Manuel García Jr.'s in depth study of the physiology of the singing apparatus can guide operatic singers to better technique and interpretation for arias composed by Puccini and Verdi. This paper will explore the principal tenor arias in La Traviata by Verdi, and La Bohème by Puccini. Gracía's theory was the major training manual for any singer who wanted a successful career because it was becoming the latest state-of-the-art and leading science of the time. The best way to go about this is to delve into the original performances with the premiere casts with particular attention to arias and extended ensemble passages written for the leading tenor role. While examining these various characteristics of different roles, the author will tie into diverse elements including articulation, vocalization, phrasing and expression according to García's studies. The paper will also compare the technique and mannerisms of tenors who have followed those of the original casts. By conducting a thorough evaluation of recordings both audio and visual of singers from different generations, the reader will have a better understanding of certain behaviors of performers. This examination will consider how physical and technical manners have evolved throughout different eras of performing and background training. The goals of this paper are to recognize Manuel García Jr.'s influence on the singers on the operatic stage while looking at some of the most famous repertoire for the tenor voice during the late nineteenth century.
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|Commitee:||Hickman, Roger, MacDougalll, Tim|
|School:||California State University, Long Beach|
|Department:||Bob Cole Conservatory of Music|
|School Location:||United States -- California|
|Source:||MAI 54/05M(E), Masters Abstracts International|
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