Barbara Hannigan: the integrated manifestation of creative power and musical leadership in dual role performance

Abstract

Barbara Hannigan is challenging the boundaries of contemporary performance practice with her unique position in the classical music scene. As both a soprano and an orchestra conductor, Hannigan has achieved extraordinary successes in both roles. However, by undertaking these roles simultaneously, she has demonstrated an ability to push boundaries in musical interpretation. This article examines how Hannigan displays creativity and leadership on stage by combining these two roles. Her unique talent proves that classical music is not just technical perfection, but also a creative expression. Hannigan infuses her own original interpretation into the pieces, deviating from traditional performances in her presentations. This approach is a result of the deep connection she establishes with both orchestra members and the audience. As a conductor, she directs the entire piece as a whole by communicating individually with each orchestra member. As a singer, she adds emotional depth to the piece with her voice and stage presence. With her dual role performance in classical music, Barbara Hannigan shows that music is not just technical perfection, but also a deep emotional expression. This article emphasizes how Hannigan displays creativity and leadership by merging these two roles, and stresses its significance in classical music. The purpose of this article is to determine how Barbara Hannigan's dual-role performance and musical leadership have evolved in classical music and the impacts of this evolution. A qualitative approach was adopted to analyze these dynamics. After an extensive literature review, Hannigan's performances, interviews, and other media materials were examined in detail. In the theoretical framework, the role of interpretation in musical performance was assessed and Hannigan's approach in this field was analyzed. Based on the collected data, a comprehensive evaluation was made about Hannigan's position, impact, and contributions in classical music. Potential impacts and sources of inspiration for other artists in the music world were also discussed. A detailed examination of Hannigan's artistry will contribute to our understanding of the boundaries and possibilities of modern musical performance. This article aims to provide an in-depth look for listeners and music enthusiasts by thoroughly examining the artist's unique approach.

Keywords

• Barbara Hannigan
• Dual Role Performance
• Musical Leadership
• Orchestra Conductor
• Soprano

References

1. Amalric, M. (2017). Music is Music, DVD film, Alpha Classics.
2. Bernstein, T. (2020). It’s about complete ıncorporation”: an ınterview with Barbara Hannigan. Circuit, 30(3), 31–44. https://doi.org/10.7202/1073925ar
3. Clements, A. (2019). Barbara Hannigan. https://www.opera.co.uk/features/barbara-hannigan/
4. Casula, C. (2019) “Gender and the Classical Music World: the unaccomplished professionalization of women in Italy” Per Musi no. 39, Music and Gender: 1-24. e193902. DOI 10.35699/2317-6377.2019.5270
5. Citron, M. J. (2000). Gender and the musical canon. University of Illinois Press.
6. Goren, N. (2021). Beyond the aria: artistic self-empowerment for the classical singer: why you want it, why you’ve been denied it, and how to achieve it. Amadeus Press.
7. Hannigan, B. (2023). Barbara Hannigan. Accessed: July 20, 2023. https://www.barbarahannigan.com/about/.
8. Jansson, D. (2018). Leading musically (1st ed.). Routledge. https://doi.org/10.4324/9781315163994

9. Jóhannsdóttir, R. I. (2023). Soprano takes the baton! Master Dissertation. Royal College of Music in Stockholm.
10. L’Écuyer, S. (2020). Les incarnations de Barbara Hannigan, artiste plurielle. Circuit, 30(3), 13–27. https://doi.org/10.7202/1073924ar
11. Les illustrations. (2020). Circuit, 30(3), 101–102. https://doi.org/10.7202/1073934ar
12. Macia, J.-L. (2017). Callas et Hannigan, deux grandes sopranos pour deux siècles. Revue Des Deux Mondes, 192–194. https://www.jstor.org/stable/26579594
13. Majeau-Bettez, E. (2020). The Complete Artistic Self: Five Collaborators Talk about Barbara Hannigan. Circuit, 30(3), 57–67. https://doi.org/10.7202/1073927ar
14. Maiello, A. J. (1996). Conducting: A hands-on approach. Alfred Music Publishing.
15. McKinley, M. (2020). Introduction. Barbara Hannigan, l’équilibriste. Circuit, 30(3), 5–10. https://doi.org/10.7202/1073923ar
16. Merriam, S. B. (2009). Qualitative research: A guide to design and implementation. San Francisco, CA: Jossey-Bass.
17. Novak, J. L. (2011). Acousmatic voice and singing body. In J. Ziherl (Ed.), Proceedings of the International Conference Pierre Schaeffer: mediArt (pp. 95-101). Muzej moderne i suvremene umjetnosti/Museum of Modern and Contemporary Art. http://issuu.com/rijekammsu/docs/pierreschaeffer
18. Rich, M. (2016). Review of the book Barbara Hannigan: Concert Documentary, by Barbara Hannigan, and: Lulu by Alban Berg. Notes 72(3), 597-598. doi:10.1353/not.2016.0020.
19. Schonberg, Harold C. (1968). The great conductors / Harold C. Schonberg. London: Victor Gollancz.
20. Van Maanen, J. (1983). Reclaiming qualitative methods for qrganizational research, in Qualitative Methodology, J, Van Maanen (ed,). Sage Publications, Beverly Hills, GA.