NYU Steinhardt Music and Performing Arts Program in … Steinhardt Music and Performing Arts ......
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NYU Steinhardt Music and Performing ArtsProgram in Vocal Performance
Vocal Performance Recital Procedure
Revised for 2012/13
MPAVP-UE Recital
MPAVP-GE Colloquy
Instructor: Dianna Heldman
Contents:
Objective
Procedure Check List
Writing Your Program
Content Requirements
Duration Requirements
Suggested methodology in writing a program
Assisting Artists/Pianists
Initial Submission: DUE THE SEMESTER BEFORE YOUR RECITAL
Required information
Formatting your program
Requesting a date/time and venue
Cover Sheet -‐ for your submission
Scheduling your rehearsal(s)
Recital Hearings
Changing your program
Content
Order
Final Submission DUE NO LATER THAN 3 WEEKS PRIOR TO YOUR PERFORMANCE DATE.
Required information
Formatting your program for printing
Piano Etiquette
Simulated Weapon Policy
Grading
Objective
A vocal performance recital presents you with both an opportunity and a challenge. It differs from
other staged performances as it relies on the performer’s ability without the benefit of a story line
from start to finish, costumes, sets, orchestrations, lighting and, with the exception of ensembles,
other performers. It is a test of a singer’s ability not only to utilize and display the technique, the
knowledge, and the performance skills you have acquired during your time of study, but also to
sustain those skills throughout the course of a single program.
Procedure Check List
(Please follow instructions pertaining to each of these steps very carefully)
_____ Make sure you are registered for Recital or for Graduate students: Colloquy
_____ Complete and turn in your approved initial program submission by the end of the semester
prior to your recital performance.
Hard copy only: completed cover sheet, program page, biographies for you and your pianist,
translations and for MT: xerox copy of character study scene.
_____ Receive approval and your assigned performance date, time and location.
_____ Schedule your Dress Rehearsal.
_____ All changes in content must be resubmitted by four weeks before your performance date.
_____ Submit your final approved program for printing three weeks prior to your performance date.
This is your final submission and will be printed as you submit it -‐ it is strongly recommended that
you have your teacher proof this prior to submission.
One document as an MSWord email attachment or shared Google Document: program page,
biographies and *translations (see below)
_____ *Print out and copy your translations. This applies to all recitals with > 4 pieces in a foreign
language. Those with < 4 pieces in a foreign language must submit their translations to be included in the
program.
_____ Pick up your programs from the 12th floor to be folded when you receive notification that
they are ready (between 1 week and 48 hours prior to your performance depending on the volume of
recitals in that given time)
Writing Your Program
Content Requirements:
Classical Voice recitals must include selections from the following four periods of music
history – Baroque, Classical/Early Romantic (1750-‐1850), Late Romantic, and 20-‐21st Century.
You are required to sing in English, Italian, French, and German. Certain language
substitutions will be considered upon request. Recitalists may present an operatic character
study following the parameters outlined in the music teacher requirements, omitting the
spoken dialogue element.
Music Theatre recitals must include a cross-‐section of repertoire from all eras studied. They
must include the following three components – a character study, a music theatre set, and a
classical set.
A music theatre set is a grouping of songs built around either a single composer,
lyricist or topic. While songs may be linked together, these sets are not intended to
become medleys. The cohesive nature of this set may tell a story, exhibit the scope
of a composer’s or lyricist’s style, present varying opinions on a topic or be realized as
“diary entries”. The challenge of this set it to be able to transition from one song to
the next fluidly and with reason.
A classical set is a grouping of works that demonstrate your knowledge of both
classical repertoire and vocal production. All classical music must be performed
exactly as written. Classical music includes: Art Songs (non theatrical works) and arias
from operatic or oratorio repertoire. Please do not choose “cross-‐over” repertoire to
fulfill this component – if in doubt, please ask. With few exceptions, most operetta
repertoire does not fulfill this requirement.
A character study links together both sung and spoken material for a single character
from a show and must include at least ten (10) minutes of solo sung material for the
character. The purpose is to provide an opportunity for you to live on stage under
rich and full circumstances, strongly pursuing an objective which brings you into
contact with another character or characters with whom you have a strong and visceral
relationships. As you select your material, bear in mind that the purpose of the
character study is not to piece together a complete show, but rather to find material
from a show which gives you the chance to showcase the tools you have mastered in
your Acting classes, Song Analysis classes, and other performance classes in the
program. You are encouraged to incorporate other artists from this program in this
portion of your recital. Undergraduates and graduate students are limited to five (5)
assisting artists.
Duration Requirements:
Junior Recital – No less than 30 and no more than 35 minutes of music.
Classical Senior Recital – No less than 45 and no more than 50 minutes of music.
Classical Masters Recital – No less than 55 and no more than 60 minutes of music.
Music Theatre Senior Recital – No less than 35 and no more than 40 minutes of music and
approximately 10 minutes of text. Total duration can be no more than 50 minutes.
Music Theatre Masters/ 6th Year Certificate Recital – No less than 45 and no more than 50
minutes of music and approximately 10 minutes of text. Total duration must not exceed 60
minutes.
Doctoral Recitals – No less than 60 minutes of music
Suggested Methodology: (Steps for putting together a program)
Writing a program can be overwhelming at first. As an exercise, start with your current repertoire list
and follow these steps:
1) Add to your repertoire list, a list of songs you would like to do on your recital.
2) Look for common elements that exist in this combined list such as songs: from a specific
era, from a cycle, by a composer, by a librettist or poet, with similar texts or themes, in the
same language, from the same show/character etc. and begin to arrange the songs into these
groups according to their similarities.
3) Once you have grouped them, look for complete sets and partial ones that you would like
to add to. A complete set should include songs that, while having a common element such as
those above, vary in tempo and tonality and flow easily from one to another.
4) Determine how well what you have so far meets the repertoire requirements listed and
what is missing.
5) When arranging the program order, consider the following:
a. Open the recital with a piece you are very comfortable singing.
b. Recitals do not need to follow a chronological order. They do however need to be
arranged in an order that you can sing comfortably from start to finish.
c. If you have an intermission, end the first half with something that makes the
audience want a little more.
d. If you choose to sing an encore, remember that an encore is meant to thank the
audience for their attention. Be careful when programming something sentimental as
emotions can run at the surface during performances and it’s not possible to cry and
sing at the same time.
e. Once you have a rough draft of your program, practice it as a whole. Try rearranging
pieces within the sets and the sets themselves – you may find a better order for your
voice.
Assisting Artists/Pianists
Guest artists may be invited to participate in your recital in duet, small ensemble, or scene material.
You must, however, adhere to the following guidelines:
Juniors may include one guest artist and are encouraged to do joint recitals with other
juniors.
Seniors may include up to five guest artists. These artists may participate in no more
than 15 minutes of performance time.
Graduate students may include up to five guest artists. These artists may participate
in no more than 20 minutes of performance time.
Recitalists may include additional accompanying instruments for those works where it is deemed
appropriate. There is no time limit for additional accompanying instruments in performance.
Your pianist is your primary collaborative artist. Please make sure you choose a pianist that can play
your repertoire well and has the time available to work with you. The department generously
provides your accompanist with a $250.00 stipend that is paid directly to them upon completion of
the performance. When discussing your pianist’s fee, please take this money into account. Please
note that pianists who are not American or hold a valid Green Card may not be eligible for this
stipend. All accompanists must complete a voucher for services to receive this and are to be referred
to Prof. Heldman to do so.
Initial Submission:
Your initial submission must be submitted in hard copy during the semester prior to the recital.
The initial submission must contain:
1. A completed cover sheet
2. The program page formatted as below
3. Biographies for you, your pianist and your assisting artists
NB: Biographies for all assisting artists should be no longer than three or four sentences.
4. Translations
5. MT ONLY: xeroxed copy of the scene work for a character study
Formatting your program: THE PROGRAM PAGE MUST BE FORMATTED IN THIS FASHION
***********************************************************************************
Sr. Music Theatre Recital: Donna Divina Hans Klavier, Pianist
When Will my Life Begin? (Tangled) Alan Menken & Glenn Slater 3:40
Do it Again (The French Doll) George Gershwin & Buddy DeSylva 1.10
On the Steps of the Palace (Into The Woods) Stephen Sondheim 2:15
Feelings (The Apple Tree) Jerry Bock & Sheldon Harnick 1.10
How Could I Ever Know? (The Secret Garden) Lucy Simon & Marsha Norman 1:45
If I Were a Bell (Guys and Dolls) Frank Loesser
2:35
Warm All Over (Most Happy Fellow) 2:05
Baby, It’s Cold Outside (Neptune’s Daughter) 3:00
Steven Stupenda, Baritone
Canciones Clasicas Fernando Obradors
1. La mi sola, Laureola (Ponce) 2:30
5. Con amores, la mi marde (Anchieta) 2:10
6. Del Cabello mas sutil (Dos Cantares populares) (Traditional) 2:40
~Intermission~
Character Study: Lili (Carnival) Bob Merrill
Act I, scene i 2:35
A Very Nice Man 2:05
Act I, scene ii 1:40
Mira 3:06
Act I, scene iv 0:30
Yes, My Heart 3:00
Act I, scenes vi and vii 3:45
Golden Delicious/Love Makes the World go ’Round 2:45
Act II, scene ii 2:10
I Hate Him 2:40
Paul: Stephen Stupenda, Marco the Magnificent: Jared Marcus,
Grobert,: Bryan Smith Jaquot: Marvin Denison
Total time of first half: 25:00, Total time second half: 24:30, Total time of dialogue 10.10 Total
Time 49:30
Encore: I think I May Want To Remember Today Richard Maltby & David
Shire
***********************************************************************************
Example: Graduate Classical Voice Recital
Abigale Sparling, Soprano Max Midroit, Pianist
Tornami a vagheggiar (Alcina) George F. Handel 4:55
Victor Hugo
Oh quan je dors Franz Liszt 4:30
Enfant, si j’etais roi 3:10
Spanisches Leiderbuch
Spanishes Lied Johannas Brahms 2:20
In dem schatten meiner Locken Hugo Wolf 2:15
Sagt, seid Ihr, feiner Herr 1:50
Teif im Herzen trag ich Pein Robert Schumann 2:10
Intermission
Songs of the Clown (Shakespeare) Erick Wolfgang Korngold
Come Away Death 2:05
O Mistress Mine 2:00
Adieu, good man devil 0:55
Four Shakespeare Songs
Desdemona’s song 3:00
When birds do sing 2:45
Grosse Messe in c-‐Moll Wolfgang A. Mozart
Et incarnatus est 8:00
Domine Deus 8:38
Quonium 3:50
Benedictus 5:30
Emily Rose, Mezzo Soprano
Joseph Turro, Tenor
David Howell, Baritone
Total Time 58:20
Formatting Information
-‐Italics are used for larger works such as song cycles and shows
-‐Librettists and poets for classical repertoire are listed in parenthesis after the work. One may
also list them as (Traditional) or (Anonymous).
-‐When presenting more than one song from a larger set, list the larger work in italics, indent
and list the selections you are presenting. If these selections are numbered, you may include
the numbers.
Format for Translations:
Caro mio ben Dear, my beloved
Caro mio ben, credimi amen Dear, my beloved, believe me at least,
senza di te, languisce li mio cor that without you, my heart languishes.
Il tuo fedel sospira ognor. You, faithful one, sighs always.
Cessa, crudel, tanto rigor! Cease, cruel one, so much severity!
Translation: John Glenn Paton
Foreign Language on the left, translation on the right. If you have less than four songs in a foreign
language and they are to be included in your printed program, it is very important that you type
straight across and not use the column feature as column formatting will not cut and paste. Please
note that all translations must be cited.
If you are printing and providing your translations, it is a good idea to to keep complete songs listed
on one page to avoid the audience all turning the page in the middle of a song.
Requesting a date/time and venue:
On the Cover Sheet you will see the opportunity to list three dates and times that you would
like to do your recital. These requests must be cleared with your assisting artists and your teacher
prior to submission. To help you with this, you should check with Prof. Heldman about the availability
of the space you are requesting in advance. You are welcome and encouraged to list any and all
available dates on the reverse side of the form.
Please note the following specifics in your requests:
779 -‐ Anyone can request this space, all CV juniors will perform in this space
Provincetown Playhouse -‐ All Sr. and Grads. may request this space. All fall
performance MT seniors will perform in this space. Please note that a grand piano is
not always available for this venue.
Blackbox Theatre -‐ All MT grads will perform in this space pending availability. It may
be used for spring MT Sr and graduate CV recitals pending availability.
Shorin Recital Hall -‐ is only available for about 10 days in the first two weeks of May.
All CV Seniors and Grads may/will perform in this space.
Off Campus Performing Venus: Any student may request to perform in an off campus venue
but the date and time must be cleared before a reservation is made to avoid conflicting with
another recital.
Once your date and time have been confirmed, an equipment request form will be submitted on
your behalf and a copy will be sent to you. You are encouraged to print this out and put it in your
binder as this is proof that you will have the technical assistance and space for your recital.
Scheduling your Rehearsal(s):
You are responsible for scheduling a dress rehearsal that you and your assisting artists can attend.
The department will allow you to schedule this by submitting a space request form. To do so -‐go to
http://steinhardt.nyu.edu/music/facilities and choose facilities tab from the upper right hand part of
the menu. From this drop down menu, choose “facilities.” Another menu will appear on the left part
of the screen. Choose “Space/equipment Request” You will be directed to a form that you can
complete to request rehearsal time and space. Choose Professor Heldman from the dropdown menu
for approving faculty member.
Recital Hearings:
A recital hearing may be requested by the voice teacher or the recitalist. If it is decided that a hearing
is warranted, the student and pianist are asked to present material from their recital in front of two
or three faculty members. This material is chosen by the panel and must be memorized. Hearings are
scheduled 3 weeks prior to the performance date. Often students use a hearing to make sure they
are prepared in advance. If you or your teacher decide that a hearing is to be scheduled, one of the
parties must contact Prof. Heldman 4 weeks prior to your performance date. If It is determined in a
hearing that a student is not adequately prepared, the recital may be postponed or rescheduled at a
later date.
Changing your program after the initial submission:
It is expected that the content of your program may change as you continue to work with your
teacher. As you explore new repertoire and choose to replace some of the repertoire on your initial
submission, please pay very close attention to the requirements and the process by which you
formatted and formulated the initial submission -‐ especially the time element. All changes of
content require that you resubmit your entire initial submission including the cover sheet which
must be signed by your teacher. If you are changing the order and there is no content change, you do
not need to resubmit your program. Changes in content and resubmission will only be accepted up to
4 weeks before your performance date.
Final Submission:
Your final submission is what gets printed in the program. This is to be sent to Prof. Heldman no less
than three weeks prior to your performance date. It is to be one document as a Word attachment or
as a shared Google Document to [email protected]
Undergraduates must include: Program page exactly as formatted in the initial submission with the
times and encore removed, translations if you have four or less songs, biographies of all performing.
Graduates must include: Program page exactly as formatted in the initial submission with the times
and encore removed, translations if you have four or less songs, biographies of all performing,
Performance:
You have the space for your recital for a duration of time prior to the start (undergraduates 30
minutes, graduates 60 minutes) During this time you will review your program with the person
running the lights, and all those assisting with your recital. You will also take the time you need to
prepare for your performance.
Piano Etiquette:
A piano will be provided and tuned for your performance. Small light soft sided props may be set on
the piano if necessary. You are not permitted to sit or lie on a piano and under no circumstances are
heavy, sharp sided items or liquid filled containers permitted on the piano. If the piano requires
dusting, please use the dry cloth provided. If you encounter a problem with a piano, please make the
faculty aware of the problem.
Simulated Weapon Request:
If you feel you are in need of a weapon for the purposes of your character study, please see Prof.
Heldman. New York University strictly prohibits possession of simulated firearms and weapons in
and around any facility owned or controlled by the University except when the bearer is in
possession of written approval. Please see
http://www.nyu.edu/about/policies-guidelines-compliance/policies-and-guidelines/weapons--simulated-weapo
ns--and-theatrical-use-of-weapons.html
Grading:
Recital is defined a a “terminal experience” in a performance degree. As stated in the objective, it is
a test of a singer’s ability not only to utilize and display the technique, the knowledge, and the
performance skills you have acquired during your time of study, but also to sustain those skills
throughout the course of a single program. You are graded on your ability to fulfill this objective.
Undergraduates:
25% Written work -‐ program submissions (late or inaccurately formatted submissions
will be reflected in your final grade)
75% Performance in fulfilling the objective as stated above.
Graduates
30% Written work -‐ program submissions (late or inaccurately formatted submissions
will be reflected in your final grade)
60% Performance in fulfilling the objective as stated above.
Please print the following cover sheet to be attached with your initial submission:
COVER SHEET: Vocal Performance Recital Initial SubmissionThe following must be attached to this sheet: Correctly formatted program page with timings, translations,biographies. MT students must also include a photo copy of all spoken text/scene work.
Name: _________________________________________Date: ________________
Accompanist: _________________________________________
Recital Partner (if doing a joint recital):_____________________________________________
Performance Venue Requested:
Room 779_________ Provincetown Theatre_________ *Black Box Theatre______ **Shorin_________*Master’s Students Only **Please ask about availability in May
My accompanist, and all assisting artists are available for the following performance dates/times:
First Choice Second Choice Third Choice
Date: Date: Date:
Time(s): Time(s): Time(s):
( You may include additional information pertaining to recital dates on the back of this form)
Alternate Venues: I have made tentative arrangements to have my recital at
___________________________________________ on___________________ at ______________________.
(location) (date) (time)
___________________________________________________________________________________Student’s Signature Date
I have read and approve of all the attached materials. It is understood that content may change as study progresses.
___________________________________________________________________________________Teacher’s Signature Date
Do not write in this box._____ Your recital program is not approved. Please correct according to the direction on the reverseside of this form, review it with your teacher, and resubmit.
Program received________________________Recital date and time___________________________Location______________________