Transcending tradition : Rosa Ponselle’s vocal performance, 1920-1938
| dc.contributor.advisor | Olivieri, Guido, 1966- | |
| dc.contributor.committeeMember | Tusa, Michael C | |
| dc.contributor.committeeMember | Poriss, Hilary | |
| dc.contributor.committeeMember | Nardini, Luisa | |
| dc.contributor.committeeMember | Dell'Antonio, Andrew | |
| dc.creator | Qin, Xuan, Ph. D. | |
| dc.date.accessioned | 2024-07-30T01:03:49Z | |
| dc.date.available | 2024-07-30T01:03:49Z | |
| dc.date.created | 2024-05 | |
| dc.date.issued | 2024-05 | |
| dc.date.submitted | May 2024 | |
| dc.date.updated | 2024-07-30T01:03:49Z | |
| dc.description.abstract | In the early twentieth-century United States, a period characterized by significant cultural and social shifts, the concept of the “new woman” and the essence of operatic performance were undergoing a transformative reevaluation. This dissertation situates the soprano Rosa Ponselle within these currents of change, examining her proactive engagement with and considerable influence on the evolving norms of performance practice. Her adaptability and versatility not only were reflective of the era’s artistic evolution but also were instrumental in shaping its trajectory. Through examination of photographs, recordings, interviews, and contemporary periodical critiques, my dissertation analyzes her concertizing and programming methods, as well as her approaches to singing and acting. I argue that Ponselle’s approaches were profoundly informed by her vaudeville background, which infused a unique vibrancy into her operatic pursuits. Her richly resonant voice and extroverted, humorous persona allowed her to bring an unparalleled sense of entertainment to the operatic stage, distinguishing her from her contemporaries. She expanded her repertoire beyond traditional confines to include lighter, more approachable pieces, and her dynamic acting introduced a fresh vitality to her performances. The analysis of Ponselle’s operatic singing reveals an artistic journey marked by the challenging of traditional boundaries. Her interpretations of roles such as Norma and Violetta struck a harmony between the coloratura vocal tradition of the past and the progressive preferences of modern audiences. Ponselle’s career, emblematic of her resolve to preserve her individuality amidst the collaborative spirit of opera, highlights the dynamic evolution of operatic performance and the lasting influence of an artist’s personal magnetism on her craft. The examination of Ponselle’s musical journey transcends a mere revisitation of a prominent female musician’s legacy in the early twentieth-century United States. It deepens our comprehension of how female operatic vocalists navigated and interacted with the evolving public arenas of music performance, their strategies for adapting to emergent performance practices, and their significant roles in molding and guiding the evolution of musical preferences. | |
| dc.description.department | Music | |
| dc.format.mimetype | application/pdf | |
| dc.identifier.uri | ||
| dc.identifier.uri | https://hdl.handle.net/2152/126298 | |
| dc.identifier.uri | https://doi.org/10.26153/tsw/52835 | |
| dc.language.iso | English | |
| dc.subject | Rosa Ponselle | |
| dc.subject | Performance practice | |
| dc.title | Transcending tradition : Rosa Ponselle’s vocal performance, 1920-1938 | |
| dc.type | Thesis | |
| dc.type.material | text | |
| local.embargo.lift | 2025-05-01 | |
| local.embargo.terms | 2025-05-01 | |
| thesis.degree.college | College of Fine Arts | |
| thesis.degree.department | Music | |
| thesis.degree.discipline | Musicology | |
| thesis.degree.grantor | The University of Texas at Austin | |
| thesis.degree.name | Doctor of Philosophy | |
| thesis.degree.program | Music | |
| thesis.degree.school | University of Texas at Austin |
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