MUSICAL THEATER AND THE CLASSICAL VOICE: CROSSOVER SINGING IN THE TWENTIETH CENTURY

This dissertation explores the transformation of opera comique (as represented by the opera Carmen) and the impact of verismo style (as represented by the opera La Boheme) upon the development of operetta, American musical theater and the resultant change in vocal style. Late nineteenth-century operetta called for a classically trained soprano voice with a clear vibrato. High tessitura and legato were expected although the quality of the voice was usually lighter in timbre. The dissertation comprises four programs that explore the transformation of vocal and compositional style into the current vocal performance practice of American musical theater. The first two programs are operatic roles and the last two are recital presentations of nineteenth- and twentieth- century operetta and musical theater repertoire. Program one, Carmen, was presented on July 26, 2007 at the Marshall Performing Arts Center in Duluth, MN where I sang the role of Micaela. Program two, La Boheme, was presented on May 24,2008 at Randolph Road Theater in Silver Spring, MD where I sang the role of Musetta. Program three, presented on December 2, 2008 and program four, presented on May 10, 2009 were two recitals featuring operetta and musical theater repertoire. These programs were heard in the Gildenhorn Recital Hall at the Clarice Smith Performing Arts Center in College Park, MD. Programs one and two are documented in a digital video format available on digital video disc. Programs three and four are documented in a digital audio format available on compact disc. All programs are accompanied by program notes also available in digital format.

The Drama of History: Representation and Revolutionaries in Haitian Theater, 1818-1907

Since the beginning of the Haitian theatrical tradition there has been an ineluctable dedication to the representation of Haitian history on stage. Given the rich theatrical archive about Haiti throughout the world, this study considers operas and plays written solely by Haitian playwrights. By delving into the works of Juste Chanlatte, Massillon Coicou, and Vendenesse Ducasse this study proposes a re-reading of Haitian theater that considers the stage as an innovative site for contesting negative and clichéd representations of the Haitian Revolution and its revolutionary leadership. A genre long mired in accusations of mimicking European literary forms, this study proposes a reevaluation of Haitian theater and its literary origins.

Bioenergetic and ecological consequences of diet variability in Atlantic croaker Micropogonias undulatus

Atlantic croaker Micropogonias undulatus is a commercially and ecologically important bottom-associated fish that occurs in marine and estuarine systems from Cape Cod, MA to Mexico. I documented the temporal and spatial variability in the diet of Atlantic croaker in Chesapeake Bay and found that in the summer fish, particularly bay anchovies Anchoa mitchilli, make up at least 20% of the diet of croaker by weight. The use of a pelagic food source seems unusual for a bottom-associated fish such as croaker, but appears to be a crepuscular feeding habit that has not been previously detected. Thus, I investigated the bioenergetic consequences of secondary piscivory to the distribution of croaker, to the condition of individuals within the population and to the ecosystem. Generalized additive models revealed that the biomass of anchovy explained some of the variability in croaker occurrence and abundance in Chesapeake Bay. However, physical factors, specifically temperature, salinity, and seasonal dynamics were stronger determinants of croaker distribution than potential prey availability. To better understand the bioenergetic consequences of diet variability at the individual level, I tested the hypothesis that croaker feeding on anchovies would be in better condition than those feeding on polychaetes using a variety of condition measures that operate on multiple time scales, including RNA:DNA, Fulton's condition factor (K), relative weight (Wr), energy density, hepatosomatic index (HSI), and gonadosomatic index (GSI). Of these condition measures, several morphometric measures were significantly positively correlated with each other and with the percentage (by weight) of anchovy in croaker diets, suggesting that the type of prey eaten is important in improving the overall condition of individual croaker. To estimate the bioenergetic consequences of diet variability on growth and consumption in croaker, I developed and validated a bioenergetic model for Atlantic croaker in the laboratory. The application of this model suggested that croaker could be an important competitor with weakfish and striped bass for food resources during the spring and summer when population abundances of these three fishes are high in Chesapeake Bay. Even though anchovies made up a relatively small portion of croaker diet and only at certain times of the year, croaker consumed more anchovy at the population level than striped bass in all simulated years and nearly as much anchovy as weakfish. This indicates that weak trophic interactions between species are important in understanding ecosystem processes and should be considered in ecosystem-based management.

VIXEN, VIRGIN, AND GODDESS: PERFORMANCE PRACTICE AND THE BAROQUE HEROINE

This dissertation comprises performance of three soprano roles in Baroque musical theater pieces, recorded on compact disc. These roles are "Poppea" in The Coronation of Poppea (1642) of Claudio Monteverdi (a filly-produced staging of the 1989 Alan Curtis critical edition in English translation, with the Maryland Opera Studio at the Kay Theater, Clarice Smith Performing Arts Center, University of Maryland, College Park, Maryland, May 3 and 6, 2002; Ken Slowik, conductor); "Galatea" in Acis and Galatea (1718) of George Friederich Handel (a staged reading at Gildenhorn Recital Hall, Clarice Smith Performing Arts Center, University of Maryland, College Park, Maryland, May 29,2003; Edward Maclary, conductor); and "Miecke" (Soprano Soloist) in Mer hahn en neue Oberkeet (Peasant Cantata), BWV 212 (1742) of Johann Sebastian Bach (a staged and costumed performance with the Washington Bach Consort at Rachel M. Schlesinger Concert Hall, Alexandria, Virginia, February 2,2003; J. Reilly Lewis, conductor). In addition to performing these three roles, I was the stage director for the reading of Acis and Galatea. Close readings of the libretti, examination of contemporary guides to ornamentation, and research into production histories inform the improvisatory ornamentation found in these compact disc recordings.

BEYOND THE LIBRETTO: HOW THE COMPOSER GUIDES THE CREATION OF CHARACTER THREE CASE STUDIES

When performing in opera, a singer portrays a character. A libretto is used as the principal resource for the research. Music can also reveal insights into the composer’s ideas regarding characterization. This performance dissertation examines how musical devices such as genre, texture, meter, melody, instrumentation and form can be used to inform choices of characterization. Three roles from diverse operas were examined and performed. The first role, Estelle Oglethorpe in Later the Same Evening (2007) by John Musto (b 1954) was performed November 15, 16, 17, 18 2007. The second role, Dorabella in Così fan tutte (1789) by Wolfgang Amadeus Mozart (1756-1791) was performed April 20, 25, 27, 2008. The third role, Olga in Eugene Onegin (1878) by Pyotr Ilyich Tchaikovsky (1840-1893) was performed on April 19, 2009. All operas were presented by the University of Maryland Opera Studio at the Ina and Jack Kay Theater in the Clarice Smith Performing Arts Center, University of Maryland College Park. DVD recordings of all performances can be found in the University of Maryland library system.