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as a protagonist, initiator of audience participation, acoustic medium in a global community and as a musical tool to produce a innovative choral performance which abolishes the demarcations of live art and theatre. Roswitha started her career in theatre as a stage and costume designer working in London and internationally. She has exhibited work as a visual artist and has written, directed, designed and produced multidisciplined performances and founded her own company Mistress of Time to further her development as a practitioner. Her work incorporates spoken and sung word, movement, operatic elements, sometimes digital images and has involved working with groups of actors, dancers, artists, acrobats and musicians in established theatre spaces. At present Roswitha investigates the possibilities to combine site specific approach with opera and life art.

Brianna Robertson-Kirkland

Training a Prima Donna: Exploration of singing treatises Castrati (castrated male singers) in eighteenth century Europe were leading musical figures who dominated performances on the operatic stage. This voice type is now lost to the modern world as the act was banned in the early twentieth century. The very existence of the castrati brings up a number of questions: what did they sound like; how did they influence the operatic world; what legacy did they pass onto other singers? We may never hear what these operatic castrati actually sounded like, but they have left behind a small glimpse. Special collections, here at The University of Glasgow hold a number of singing songbooks, which were written by some very famous castrati. These were used in order to train both castrated and non-castrated vocal performers in the art of singing. I will perform some of the music contained within these songbooks, highlighting some of the exercises used to train an eighteenth-century opera singer and singing some of the most popular arias from the eighteenth-century operatic stage that would have drawn some singers to the singing profession. It is my belief that the castrati have influenced the way in which modern operatic singers train and perform. They certainly influenced composers such as Mozart and 35

Profile for Calum Scott

Sound Thought 2014 Programme  

Programme for Sound Thought 2014 including full schedule of paper sessions, concerts and installations plus abstracts and biographies for ea...

Sound Thought 2014 Programme  

Programme for Sound Thought 2014 including full schedule of paper sessions, concerts and installations plus abstracts and biographies for ea...

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