Bringing opera to life; operatic acting and stage direction.


New York, Appleton-Century-Crofts [1968] .

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Subjects Opera -- Production and direction.
Opera.
Opéra -- Production et mise en scène.
Description x, 424 pages illustrations, music 25 cm
Copyright Date [1968]
Notes "Bibliography of background texts": pages 414-420.
Contents The language of the theater. The singer as actor ; Making the mechanics of performing automatic ; Thinking in character ; Developing the character ; La Traviata, act II : scene between Violetta and Father Germont ; Making thoughts and emotions visible ; Dramatic expressiveness ; Techniques of the proscenium stage -- The language of music. Energy and mood ; informative devices ; Musical timing ; Musical form -- The motivations of operatic characters. Reasons and urges ; The influence of music ; Motogenic ideas ; Repeated words and sentences ; Analysis of motivations in two operatic scenes ; Motivations and movement patters -- Operatic pantomimes. Cavalleria rusticana : pantomime for Santuzza's entrance ; Don Carlo : pantomime preceding the aria "Ella giammai m'amò" ; The abduction from the seraglio : pantomime preceding the aria "Martern aller arten" ; The telephone : Ben's pantomime during Lucy's first aria ; Don Giovanni : Donna Elvira's pantomime during Leporello's catalog aria -- The singing actor. Enunciating the text ; Vocal disguises ; Aria stagings ; The barber of Seville, act I : Rosina's cavatina "Una voce poco fa" ; Carmen, act II : The card song ; Rigoletto, act II : scene and aria "Ella me fu rapita" ; The masked ball, Act II : Renato's recitaive and aria "Eri tu" ; Don Giovanni : Leporello's catalog aria -- Achieving musical accuracy. What causes musical mistakes ; Musical beats, signals and landmarks ; Problems of timing and intonation ; Secco recitatives ; Problems involving tempo changes ; Harmless tempo changes ; Tempo changes which require adjustments ; Difficult tempo changes ; The realities of an operatic career -- Operatic stage direction. The role of the stage director ; How a stage composition is developed ; The marriage of Figaro, act II : the countess' cavatina -- Vocal ensembles and choral scenes. Different types of ensembles ; Scenes with soloists and a chorus ; Large choral scenes -- Various problems of staging opera. Orchestral introductions ; Achieving variety in actions, groupings, and stage positions ; When music and drama seem mismatched ; Dance sequences ; Asides and mistaken identities -- Imaginative staging. Elaborations ; Transpositions ; Extentions.
Network Numbers (OCoLC)438827
(OCoLC)ocm00438827
WorldCat Search OCLC WorldCat
WorldCat Identities Goldovsky, Boris.
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