Bringing opera to life; operatic acting and stage direction.

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

Location Call Number Status Consortium Loan
George Washington
Mt. Vernon campus stacks
ML1700.G738 B7 Available Request
Mullen Library stacks Music
ML1700.G62 B8 Available Request
Mullen Library stacks Music
ML1700.G62 B8 Available Request
Van Ness stacks
ML 1700 .G738 B7 Available Request
Van Ness stacks
ML 1700 .G738 B7 Available Request
WRLC Shared Collections Facility
ML 1700 .G738 B7 Off-site
Subjects Opera -- Production and direction.
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
WorldCat Search OCLC WorldCat
WorldCat Identities Goldovsky, Boris.
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