Summary of Three Dissertation Performances: One Opera Role and Two Dissertation Recitals

Abstract

One opera role and two dissertation recitals were performed in lieu of a written dissertation. This document, comprising a character analysis of an opera role performed and two recital program notes, embodies a journey through my vocal and stage artistry, scholarship, and expertise as a doctoral student in vocal performance at the University of Michigan. These performances demonstrate proficiency in a wide range of languages, including Italian, French, German, English, Czech, and Chinese, as well as a variety of vocal styles. They also exemplify a depth of understanding of repertoire in stylistic and contextual dimensions while displaying an application of vocal skill in both technical and interpretative dimensions. “A complex character with a passionate soul hidden in the noble calm,” the character analysis of Donna Anna from Mozart’s opera Don Giovanni explores Mozart’s exceptional musical setting in depth to evoke and highlight Donna Anna's emotional and vocal complexity through her challenging arias, distinguishing her from other female soprano characters. The second dissertation recital, “A Love’s Journey: Whispers of the Heart,” was a personal and intimate musical exploration of the intricate stages of love. Highlighting the emotive power of music, it featured vocal compositions from the Romantic era, which took place roughly from 19th to early 20th centuries, known for its emphasis on individualism, presented in diverse languages. The third dissertation recital, “Exoticism vs. Nationalism,” contrasted two musical concepts of the Romantic Period. The first half presented a vibrant cultural palette of exotic colors by two foreign explorers, while the second half evokes nostalgic and patriotic sentiments by composers, who dedicated to preserving cultural heritage and cultivating native sounds. Driven by my passion for operatic performance, I incorporated operatic excerpts into both dissertation recitals, enriching the programs’ diversity. These include a mixture of arias and duets, deepening the expressive impact of the performances.

Recital 1: The role of Donna Anna in the opera Don Giovanni by Wolfgang Amadeus Mozart, in lieu of a recital. March 23 and 25, 2023, Lydia Mendelssohn Theater, Ann Arbor, Michigan. Mo Zhou, director; Martin Katz, conductor.

Recital 2: “A Love’s Journey: Whispers of the Heart.” February 2, 2024, 5:30 pm, Britton Recital Hall, Ann Arbor, Michigan. John Morefield, piano. Program: “Malinconia, ninfa gentile,” Vincenzo Bellini; “Gretchen am Spinnrade,” Franz Schubert; “Sechs Lieder, Op. 13,” Clara Wieck Schumann; “Esulti pur la barbara” from L’elisir d’more, Gaetano Donizetti; “Chanson triste,” “L’invitation au voyage,” “Extase,” Henri Duparc; “Me voilà seule... Comme autrefois” from Les Pêcheurs de perles, Georges Bizet; “Si mes vers avaient des ailes,” “L'énamourée,” “À Chloris,” Reynaldo Hahn; “Élégie,” Jules Massenet; “Allerseelen,” Richard Strauss; “Love’s Philosophy,” Roger Quilter.

Recital 3: “Exoticism vs. Nationalism.” April 21, 2024, 7:00 pm, Britton Recital Hall, Ann Arbor, Michigan. John Morefield, piano. Program: “Love,” “Little Elegy,” “O You Whom I Often and Silently Come,” “Early in the Morning,” “What If Some Little Pain,” Ned Rorem; “Si, mi chiamano Mimì,” “Donde lieta uscì” from La Bohème, Giacomo Puccini; V národním tónu, op.73, “Měsíčku na nebi hlubokém” from Rusalka, Antonín Dvořák; “In the Mountains,” Tianhe Chen; “Homesickness,” “Three Wishes of the Rose,” “Stepping in the Snow to Seek Plum Blossoms,” Zi Huang; “Ode to the Orchids,” “Guan, Go the Ospreys,” Jiping Zhao; “Song of the Yue Boatman,” Qing Liu; “Bridge,” Zaiyi Lu; “On the Waterside,” Jiaqing Lin.