President Obama Presents National Medal of the Arts to Renée Fleming
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Choir Singing May Be Good For Your Heart, Says New Study (VIDEO)
Many choir singers would likely attest to the soothing and bonding experience that comes from belting out chants and hymns in unison. And there's science to back them up.
Last year, Norwegian researchers found that singing in a choir may help form social bonds; while a 2007 U.K. study found that choristers were better able to cope with stress.
A new exploratory study out of Sweden reveals that singing in a choir may not only promote mental and emotional well-being, social connection and collaboration, butgood heart health, as well.
To study the benefits of choral singing on the body, researchers at the Sahlgrenska Academy at Sweden's Gothenburg University studied the heart rates of high school choir members as they sang in unison. What they found, according to their paper published in Frontiers in Neuroscience this week, was astonishing.
Musicologist Björn Vickhoff, who led the study, explained that not only did the choir members' heart rates slow down as they began to sing, but their heartbeats gradually synchronized, eventually beating as one, with the song's tempo as a guide.
"When you exhale [as you sing] you activate the vagus nerve, we think, that goes from the brain stem to the heart. And when that is activated the heart beats slower," Vickhoff told the BBC, referring to the complex nerve that is believed to belinked to emotional health.
Comparing choral singing to doing yoga, Vickhoff said that the controlled breathing used in both activities may have positive long-term effects on heart health and blood pressure. Vickhoff has also said that choral singing, like yoga, may be beneficial to one's mental and emotional health.
“Singing regulates activity in the ... vagus nerve which is involved in our emotional life and our communication with others and which, for example, affects our vocal timbre," he said in a statement released by the academy. "Songs with long phrases achieve the same effect as breathing exercises in yoga. In other words, through song we can exercise a certain control over mental states."
The synchronization of choir members' heartbeats could also suggest an increased ability to form stronger social bonds or to experience closer connections, says Vickhoff.
"It's a beautiful way to feel. You are not alone but with others who feel the same way," he said, according to NPR.
Though the report, which had fewer than 20 participants, is but a limited look at a largely untapped area of study, NPR's Anna Haensch noted that the work Vickhoff and his team are doing is intriguing in its possibilities.
"This is just one little study, and these findings might not apply to other singers," she wrote. "But all religions and cultures have some ritual of song, and it's tempting to ask what this could mean about shared musical experience and communal spirituality."
Indeed, Vickhoff says the exploration has only just begun. He says he plans to continue exploring the biological impacts of music on the body and health in a long-term project called “The Body’s Musical Score." It is hoped that the project will lead to new music-based medical treatments that may be used in rehabilitation and preventive care in the future.
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This week on Rhode Island Public television,
WSBE: (Comcast 294, Cox 808, Full Channel 109,
and Verizon 478)
FAUST
Great Performances at the Met
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Saturday, July 20 -- 8:00pm; Sunday, July 21 -- 3:00am; Monday, July 22-- 12:00am
A production of Gounod's "Faust" updates the story to the mid-20th century, with Faust (Jonas Kaufmann) now a nuclear scientist who strikes a deal with the devil (René Pape) in order to win the affections of a young woman (Marina Poplavskaya).
DURATION: 210 MIN
DETAILS: [CC] [STEREO]
GENRE: PARENTS PICKS
Angela Gheorghiu’s marital problems are no surprise. Drama and discord are part of the singer’s lot
Tantrums and arias: Angela Gheorghiu claims she was
assaulted by her ex-husband Roberto Alagna Photo: Rex Features
By Michael White
5:24PM BST 06 Jul 2013
Domestic violence isn’t funny. So last week, when the
soprano Angela Gheorghiu claimed that she’d been physically assaulted by her
former husband, singing partner and collaborator in the greatest opera-house
romance of modern times, Roberto Alagna, the world responded with due sympathy.
But also with a touch of justifiable bemusement, because neither Gheorghiu nor
Alagna has a spotless record for acceptable behaviour.
Variously known as “the Ceausescus”, “Bonnie and
Clyde” and, in her case, “the Draculette” (backstage nicknames can be cruel),
their lives came to exemplify the kind of conduct you might casually think goes
with the territory of opera stardom: tantrums, cancellations, stormings off,
general hysteria.
And it was only a few weeks ago that Covent Garden’s
music director, Antonio Pappano, dared to raise his head above the parapet and
complain that things were getting worse. Singers today, he said, seemed to be
“weak in mind and body”. More so than their predecessors.
Personally, I’m not so sure about that. From the early
18th century, when leading singers made the transformation from mere artisans
to stars, there was a tendency to bad behaviour. Handel’s two rival sopranos,
Francesca Cuzzoni and Faustina Bordoni, fought onstage, pulling each other’s
hair. Cuzzoni’s tantrums in rehearsal were apparently so great that Handel
grabbed her by the waist and said he would throw her through a window if she
didn’t calm down. And as always in the long relationship between celebrities
and their adoring audience, the public lapped it up: pretending to disapprove
but enjoying every detail. It was all part of the show.
As singers realised what they could get away with, bad
behaviour became commonplace – especially in the case of mezzos and sopranos
who invested the word “diva” with a darker meaning than it previously carried.
Adelina Patti had a repertoire of dirty tricks to
sabotage the singing of whoever shared a stage with her. Dame Nellie Melba did
the same. Maria Callas was, according to the EMI producer Walter Legge,
“vengeful, vindictive and malicious”. And in my own opera-going lifetime, I’ve
seen some shameful things, such as Luciano Pavarotti storming out of a
90th-birthday concert for his supposedly dear friend Menotti because his name
had been omitted from a thank-you speech at the beginning.
Americans, though, take the biscuit when it comes to
being diva-like. Everybody in the business knows the stories: Jessye Norman’s
staggering contractual demands for backstage comforts (I once saw the list: it
ran for several pages’ worth of special this and special that, ending
prosaically with the requirement for “a sturdy chair”); or Kathleen Battle’s
queenly grandeur (when the New York Met famously sacked her from a Donizetti Fille
du Régiment for “unprofessional behaviour”, the entire cast threw a party and
wore T-shirts saying “I survived the Battle”).
But the Battle stories show how you can overstep the
mark. After the Met debacle, her career shrivelled to nothing, lovely voice or
not. For opera is as much a business as an art-form: it needs people who are
practical, reliable, prepared to knuckle down to hard work. And the truth is
that for every diva, there’s a trouper: somebody like Birgit Nilsson (who would
never cancel shows, and sang them with a dislocated shoulder) or Joyce DiDonato
(who not long ago sang a production from a wheelchair rather than cause
disappointment).
But assuming that Pappano may be right, with bad
behaviour on the rise, it wouldn’t be too hard to isolate the reasons. Singing
is a tough call: it requires athletic stamina as well as musical ability. The
voice is vulnerable, it comes and goes. You’re under constant pressure.
And the pressures now are greater than they were of
old, with bigger auditoria and bigger orchestras to sing against, faster
careers, and greater scrutiny. If Gigli cracked a top note in Caracas, he could
move on to the next stop on his tour with nobody the wiser. These days it would
be on YouTube instantly. And similarly if he cut, adapted or down-pitched an
aria to make it manageable. In the past you got away with that. No more.
But there’s another factor that might help explain a
singer’s tantrums. We require him or her not only to project the voice into
enormous auditoria but also to project emotion, on a semaphore-like scale: big
feelings, anguish, desperation, madness, amplified by music. This is what the
audience applauds and what the singer is trained for.
So it might be a tad unreasonable to expect a diva who
does high-dramatic roles such as Norma, Tosca or Madam Butterfly, to rant,
rave, tear her hair out, die for love, murder her children … and then quietly
go home to a blameless life in Croydon with a cup of cocoa before bed. How can
you be a massive personality onstage and hold on to an easy-going girl or guy
next-door normality in every other aspect of your life? How do you turn the
volume up and down? It can’t be easy.
Many singers, of course, manage it, including great
ones: think Sir Thomas Allen, Sir John Tomlinson, or Dame Felicity Lott – three
of the least hysterical, most grounded, unassuming people you could ever hope
to live next door to.
But I think they’re a minority. Most big-name singers
that I know live on their nerves, and have a problem regulating the enormous,
outsized personalities we ask of them. Which means they tend to lead
tempestuous lives.
And though that doesn’t give them licence to behave
like monsters, if we want them to be what they are on stage, I think we have to
make some allowances. As Gheorghiu told me once in her distinctly diva-like way
(scary-sweet, hand to the heart): “I know the price of being Angela”. I’m sure
she does. And on a nightly basis.
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WITH
DAVE D' AGUANNO
Opera fans, who know the music of Umberto Giordano
principally by way of "Andrea Chenier" (on the Met's schedule for
next season) and possibly "Fedora" as well, may want to tune in to
French Radio this FRIDAY afternoon (July 19), as his opera "Madame Sans-Gene"
will be broadcast in a LIVE performance from this summer's opera festival in
Montpellier. This particular opera was actually premiered at the Met in January
1915 but, as you've probably guessed, hasn't been performed in our area in
ages, although a La Scala production from circa 1967 garnered fairly good
reviews at that time.
On Saturday (July 20), NPR continues with its series of
broadcasts from the Los Angeles Opera, this time with Verdi's "I Due
Foscari" which features Placido Domingo singing the baritone role of the
elder of the two Foscari of the title. Listeners who may be unfamiliar with
this work can expect an overflow of wonderful melody that is typical of this
popular composer.
Then, on ORF, you can tune in to Rossini's
"blockbuster" -- "William Tell" -- in a performance that
originated in Amsterdam on February 18 of this year. It had previously been
broadcast on Radio 4 (Netherlands), so here's your chance to listen in, in case
you missed it the first time around.
Interested in 21st Century opera? Never fear: Friedrich
Cerha's latest opera (his 14th !!!) -- "Uncle President" -- gets
aired on German Radio this Saturday. The performance in question comes from
Munich (June 1, 2013).
Enjoy!
DAVE
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11 Signs You Sing in a Chorus
American soprano Maria Kanyova made her San Francisco Opera
debut in 2012 as Pat Nixon in John Adams's Nixon in China. In this summer's
world premiere The Gospel of Mary Magdalene by Mark Adamo, Kanyova graced the
War Memorial Opera House stage as Miriam—a performance the San Francisco
Examiner called "outstanding."
What Inspired You to Work in Classical Music?
Wrist Injury Sidelines Marin Alsop
Coming From Stephen Schwartz: A Musical About an Opera
Impresario — in German
He Will Have Vengeance (Again): New York Philharmonic to
Present ‘Sweeney Todd’
New York Festival of Song to Honor Ned Rorem
In Performance: ‘Choir Boy’
Going Viral: The Power of Video to Raise Your Chorus's
Profile
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"To achieve great things, two things are needed; a plan, and not quite enough time. --Leonard Bernstein
Just released by Decca MP3s!
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Summer production of
"Elixir of Love"
Thursday, August 1, 5:30pm
@Blithewold Mansion and Gardens, Bristol, RI
$30 General admission and $25 for Blithewold Members
♫♫♫
Thursday, August 8, 7:30pm
Saturday, August 10, 7:30pm
@ Ocean State Theater,1245 Jefferson Blvd., Warwick, RI 02886
$35 and $60
For additional information on our exciting opera season,
to purchase tickets, or to contribute to the Annual Appeal, contact:
Opera Providence
585 Elmgrove Avenue
Providence RI 02906
401-331-6060
The Huffington Post | By Dominique Mosbergen Posted: 07/11/2013 10:35 am EDT | Updated: 07/11/2013 10:45 am EDT