NYU Steinhardt Music and Performing Arts Program in Vocal Performance
Vocal Performance Recital Instructions/Procedure Revised for 2017
MPAVP-UE 1122 Recital Instructor and MPAVP-GE 2121 Colloquy Instructor: Dianna Heldman
Contents:
1. Objective
2. Writing Your Program
a. Content Requirements b. Duration Requirements
c. Suggested methodology in writing a program 3. Assisting Artists/Pianists
4. Submitting a Recital Draft
5. *Requesting a date/time and venue 6. *Completing an Equipment Request Form
7. Initial Program Submission DUE NO LATER THAN 6 WEEKS PRIOR TO YOUR PERFORMANCE.
a. Required information
b. Formatting your program (program page, translations, biographies) 8. Scheduling your rehearsal(s)
9. Recital Hearings
10. Changing your program DUE NO LATER THAN 4 WEEKS PRIOR TO YOUR PERFORMANCE.
a. Content b. Order
11. Final Program Submission DUE NO LATER THAN 2 WEEKS PRIOR TO YOUR PERFORMANCE.
a. Required information
b. Formatting your program for printing
12. Performance: Personnel and Reservations/Seating for Guests 13. Piano Etiquette
14. Simulated Weapon Policy
15. Recital Receptions and alcohol policy 16. Grading
* THIS PROCESS IS CURRENTLY UNDER REVIEW DUE TO CHANGES IN DEPARTMENTAL PROCEDURES/PROTOCOL AND WILL BE UPDATED AS SOON AS POSSIBLE
1) 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 storyline 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.
2) Writing Your Program a) 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. Whereas the majority of the repertoire
presented will be art song, undergraduate recitalists may present up to and not more than ten minutes of post 1750 operatic material. Graduate students are encouraged to incorporate up to three of their audition arias into their recital.
Music Theatre recitals must include a cross-section of repertoire from all eras studied and 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 and 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
relationship. 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 throughout your course of study. 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.
Note: FAQs about the character studies:
Can I and my assisting artists wear costumes for the character study?
Costume pieces are permitted as they are often necessary being referenced in text and required in the character’s actions. Remember however, that the audience has a vivid imagination so the task is to keep these costume pieces to the absolute least needed. The same for props, set pieces & decoration. You are telling the story of a character using the acting and singing skills you have learned throughout your course of study, not presenting a show.
Can I have real food and drink on stage?
If there is a scene where beverages are being used, you may use water or unsweetened tea provided it is not set on or near the piano. Anything else - no…..really, no.
How are the lighting, recording and sound handled?
Lighting is limited to stage at full, dimmed and dark. No spots, gels or special lighting is permitted. There will be a technician at your recital at least 30 minutes before you begin. No technician will be at the dress rehearsal. All recitals on campus are audio recorded by the department and you will receive a copy. Limited sound cues are permitted as needed.
b) 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 – 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.
All Recitals MUST be performed from memory. Exceptions are made for chamber and oratorio
repertoire.
c) Suggested Methodology: (Steps for putting together a program)
Writing a recital program can be overwhelming at first. As an exercise, start with your current repertoire list and follow these steps:
1) Add to your current repertoire list, a list of new songs you might 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 / 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. Watch that your set isn’t just a list of songs you like or you feel are impressive. If you have an aria or a
show-stopping song, consider doing the former as a stand alone piece and the latter at the end of the set.
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.
3) 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.
4) Submitting a Recital Draft
Some recitalists may be required to submit a recital draft at midterm one semester prior to the anticipated recital date. Those students will be supplied with a working document and
instructions. Those not required to take this step are encouraged to do so and can request this form.
5) Requesting a date/time/venue
THIS PROCESS IS CURRENTLY UNDER REVIEW DUE TO CHANGES IN DEPARTMENTAL
PROCEDURES/PROTOCOL. AT THIS TIME WE ASK THAT YOU CONTACT YOUR FAMILY, TEACHER AND ASSISTING ARTISTS TO DETERMINE WHEN THEY ARE
NOT AVAILABLE FOR DATES YOU ARE
CONSIDERING - THAT WAY WE CAN MORE EASILY ASSIST YOU IN SECURING A DATE, TIME AND VENUE.
On Campus Venues:
303 Education Building 779 Education Building Black Box Theatre
Provincetown Playhouse (Cannot guarantee a grand piano)
If you choose an off campus venue, please also give 4-5 possible dates and note that the school cannot guarantee recording)
Off Campus Venues:
Opera Center National Opera Center: 330 7th Avenue St. John's in the Village Church 218 West 11th Street St.
Greenwhich Music House, 46 Barrow Street Tenri Cultural Institute 43A West 13th Street
6) Completing an Equipment Request Form
THIS PROCESS IS CURRENTLY UNDER REVIEW DUE TO CHANGES IN DEPARTMENTAL
PROCEDURES/PROTOCOL. PLEASE IGNORE THE FOLLOWING AT THIS TIME AND MOVE TO 7) After your date has been assigned/confirmed. You must then complete the Recital Space and Equipment Request Form: http://steinhardt.nyu.edu/music/students/recitals/planning
Because your recital has already been scheduled:
-Skip the section: Room Reservation
-Under TIme/Date/Location - enter your assigned location, date and start time in all
three of the preferences. All three must be completed to submit the form. Please make sure they are all the same.
- Under Equipment, choose is Piano: Grand - everything else you may leave blank or choose none. Note that the acting cubes and standard stock pieces are available for your character study if you are in one of the theatres. If you are in 303 and in need of these items, you must request exactly what is needed on this form.
If you have any problems with this form, please contact Scott Allen at [email protected]
Failure to submit this form correctly may result in your recital being cancelled and your date/location given to someone else.
7) Initial Submission:
a) Required Information: No less that 6 weeks prior to your date, your initial submission must uploaded into your Recital Folder as a Google Document with edit privileges titled:
(NAME)Initial Recital Submission. It must contain:
1. The program page formatted as below 2. Translations for all songs as formatted below
3. MT ONLY: Dialogue/scene work for a character study
b) Formatting
IMPORTANT: THE PROGRAM PAGE MUST BE FORMATTED IN THIS FASHION - NO VARIATIONS WILL BE ACCEPTED AND WILL DELAY THIS PROCESS! PLEASE PAY PARTICULAR ATTENTION TO
PUNCTUATION, CAPITALIZATION, DIACRITICAL MARKINGS AND HOW LARGER WORKS ARE LISTED.
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Example: Sr. Music Theatre Recital:
Deborah Divina Hans Klavier, Pianist
5/2 Black Box Theatre 4:30pm 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 (The 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 madre (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
scene ii 1:40
Mira 3:06
scene iv 0:30
Yes, My Heart 3:00
scenes vi & 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 2:15
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Example: Graduate Classical Voice Recital
Serena Davina, Soprano Maxwell Mains, Pianist
5/1 Room 303 8pm
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
(Anonymous)
Spanishes Lied Johannes Brahms 2:20
In dem schatten meiner Locken Hugo Wolf 2:15
Sagt, seid Ihr, feiner Herr 1:50
Tief im Herzen trag ich Pein Robert Schumann 2:10
Intermission Spring (Six Elizabethan Songs
) (Nash) Dominick Argento 2:00
Song of the Blackbird
(Op. 14 ) (Henley) Roger Quilter 2:05
Sweet Suffolk Owl (Anonymous) Richard Hundley 0:55
Waterbird (Purdy) 3:00
When Birds Do Sing (Shakespeare) Erich Korngold 2:45
Grosse Messe in c-Moll Wolfgang A. Mozart
Et incarnatus est 8:00
Domine Deus 8:38
Quoniam 3:50
Benedictus 5:30
Emily Michaels, Mezzo Soprano Joseph Sanders, Tenor David Henderson, Baritone Total Time 58:20
Encore: The Ballad of the Shape of Things Sheldon Harnick 2:37
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Formatting Information:
-Italics
are used for larger works such as song cycles and shows
-Librettists and poets for classical repertoire are listed last name only in parenthesis after the work. Those without may also be listed: (Traditional) or (Anonymous).
-When presenting more than one song from a larger set, or librettist/poet, list the larger work or person, 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 almen 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.
Format for biographies:
Biographies give information about the performers relative to their careers. All larger works listed in a biography need to be in italics. All NYU students are requested to list what voice studio they are in.
Assisting artists’ biographies should be kept to two or three sentences and may be edited for content and length. Statements of thanks and well wishes for the recitalist by the assisting artist and friends and family by the recitalists are fine. Statements to specific people are best done in a personal note to the individual and not in the program.
8) Scheduling your Dress Rehearsal:
Please go to http://steinhardt.nyu.edu/music/students/recitals/planning and complete the rehearsal request form. Remember to make sure your team including your voice teacher and coach are
available for this time. It is recommended that you do this as soon as you are able given that space in your venue will become harder to book as the semester passes.
9) 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 the recital instructor 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.
10) Changing your program after the initial submission:
The content of your program may change as you continue to explore repertoire and as such, you may choose to replace some of the repertoire on your initial submission. In doing so, 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 alter your initial submission, your teacher must approve and date the change on the approval form and you must notify the teacher that changes have been made. If you are changing the order and there is no content change, simply re-order the original submission - no approval is needed. Changes in content and resubmission will only be accepted up to 4 weeks before your performance date.
11) Final Submission:
Your final submission is what gets printed in the program. I recommend you copy the original submission in your folder, rename it: Final Submission (your name) and simply remove the timings and the encore. The final submission must include biographies.
Note that both documents need to be in your folder: the initial and the final.
12) Performance and performance personnel guidelines:
The department provides you with a support team that includes a technician to run the lights and a front of house person to hand out programs, seat guests and make sure that the recital runs smoothly without interruption. These paid personnel are also responsible for the space and its usage in
accordance with theatre and departmental regulations. As such, the hiring of outside technicians and personnel is not permitted. Recitalists usually ask friends and or assisting artists to make opening statements, move set pieces, music stands etc. when needed throughout the performance. As you have the space for your recital for one hour prior to the start, please take this time review your program with the technician running the lights, and all those assisting with your performance.
Regarding front of house personnel, please note that you may reserve seats for faculty, family and assisting artists only. You must make sure that seats are marked accordingly and if you have a list of reservations, that it is given to the front of house personnel prior to opening the house. Please note that no one will be admitted to the theater once the maximum capacity is reached.
13) 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.
14) Simulated Weapons:
Simulated or real weapons of any kind are not permitted in recitals.
15) Recital Receptions:
You may choose to have a reception after your recital or after the day of recitals. It is strongly recommended that you do this in an off campus venue. You can reserve the pless Lounge if it is available by going to: http://steinhardt.nyu.edu/adminfinance/events/pless/1 Please note that alcoholic beverages are strictly prohibited in any NYU space.
http://www.nyu.edu/about/policies-guidelines-compliance/policies-and-guidelines/substance-abuse-and-alco holic-beverages.html
16) Grading:
Recital is defined 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 (Colloquy)
15% Written work including program submissions (late or inaccurately formatted submissions or written work will be reflected in your final grade)
15% In Class Oral Presentation 10% Class Participation/Attendance
60% Recital Performance in fulfilling the objective as stated above
