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.

A Feminist Affective Turn for Public Relations: Mothers, Passionate Publics, and the Childhood Vaccine Debate

This project proposes a feminist intervention in how affect and publics are theorized in public relations research. Drawing from extant literature, I argue that public relations theories of affect and publics have been apolitical and lack depth and context (Leitch & Motion, 2010a). Using the context of the online childhood vaccine debate, I illustrate several theories and concepts of the new feminist affective turn, as well as postmodern theories of affect, relevant to public relations research: (a) Public Feelings, “ugly” feelings, agency, and community (Cvetkovich, 2012; Ngai, 2007); (b) passionate politics (Mouffe, 2014); (c) postmodern assemblages, biopower, and body politics (Deleuze & Guattari, 1988; Foucault, 1984); (d) affective facts and logics of future threats (Massumi, 2010); and (e) affective ethics (Bertleson & Murphie, 2010). Scholarship in the areas of public relations, risk, feminist and postmodern affect theory, and the vaccine debate provided theoretical grounding for this project. My research questions asked: How is feminist affect theory embodied by mothers in the vaccine debate? How do mothers understand risks as affective facts in the vaccine debate (if at all)? What affective logics are used by mothers in the vaccine debate (if any)? And, What are sources of knowledge for mothers in the vaccine debate? Multi-sited online ethnographic methods were used to explore how feminist affect theory contributes to public relations research, including 29 one-on-one in-depth interviews with mothers of young children and participant observation of 15 online discussions about vaccines on parenting websites BabyCenter.com, TheBump.com, and WhatToExpect.com. I used snowball sampling to recruit interview participants and grounded theory (Glaser & Strauss, 1967) to analyze interview and online data. Results show that feminist affect theory contributes to theoretical and practical knowledge in public relations by politicizing and contextualizing understandings of publics and elucidating how affective facts and logics inform publics’ knowledge and choices, specifically in the context of risk. I also found evidence of suppression of dissent (Martin, 2015) and academic bias in vaccine debate research, which resulted in cultures of silence. Further areas of study included how specific contexts such as motherhood and issues of privilege and access affect publics’ experiences, knowledges, and choices.

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.