Atnaujinkite slapukų nuostatas

El. knyga: Performing Opera: A Practical Guide for Singers and Directors

(University of Newcastle, Australia)
  • Formatas: 352 pages
  • Serija: Performance Books
  • Išleidimo metai: 25-Feb-2016
  • Leidėjas: Methuen Drama
  • ISBN-13: 9781474239103
Kitos knygos pagal šią temą:
  • Formatas: 352 pages
  • Serija: Performance Books
  • Išleidimo metai: 25-Feb-2016
  • Leidėjas: Methuen Drama
  • ISBN-13: 9781474239103
Kitos knygos pagal šią temą:

DRM apribojimai

  • Kopijuoti:

    neleidžiama

  • Spausdinti:

    neleidžiama

  • El. knygos naudojimas:

    Skaitmeninių teisių valdymas (DRM)
    Leidykla pateikė šią knygą šifruota forma, o tai reiškia, kad norint ją atrakinti ir perskaityti reikia įdiegti nemokamą programinę įrangą. Norint skaityti šią el. knygą, turite susikurti Adobe ID . Daugiau informacijos  čia. El. knygą galima atsisiųsti į 6 įrenginius (vienas vartotojas su tuo pačiu Adobe ID).

    Reikalinga programinė įranga
    Norint skaityti šią el. knygą mobiliajame įrenginyje (telefone ar planšetiniame kompiuteryje), turite įdiegti šią nemokamą programėlę: PocketBook Reader (iOS / Android)

    Norint skaityti šią el. knygą asmeniniame arba „Mac“ kompiuteryje, Jums reikalinga  Adobe Digital Editions “ (tai nemokama programa, specialiai sukurta el. knygoms. Tai nėra tas pats, kas „Adobe Reader“, kurią tikriausiai jau turite savo kompiuteryje.)

    Negalite skaityti šios el. knygos naudodami „Amazon Kindle“.

In Performing Opera: A Practical Guide for Singers and Directors Michael Ewans provides a detailed and practical workbook to performing many of the most commonly produced operas. Drawing on examples from twenty-four operas ranging in period from Gluck and Mozart to Britten and Tippett, it illustrates exactly how opera functions as dramatic form.

Grounded in close analyses of performances of thirty scenes and five whole operas by first-rate singers and celebrated directors, Performing Opera provides readers with an appreciation of the unique challenges and skills required by performers and directors. It will assist them in their own performance and equip them with detailed knowledge of works most commonly featured in the repertoire. In the first part of the book the analysis progresses from scenes in which the singers are silent, via arias and monologues, duets and confrontations, up to ensembles. Wider issues are subsequently addressed: encounters with offstage events, encounters with the numinous, characterization, and the sense of inevitability in tragic opera.

Daugiau informacijos

A must for singing students and opera directors, this is the first practical workbook to many of the most produced operas, demonstrating how words are illuminated by the composers music and, in turn, how the singers movements, expressions, gestures and use of props, together with the costumes and décor, present the directors own illumination of both text and music.
Operas Studied viii
Foreword xi
Preface xiii
How to use this book xv
Acknowledgements xviii
About the Author xix
1 Introduction
1(14)
PART ONE FORMS
2 Arias and Monologues
15(46)
2.1 `Great work, boss!' (Mozart)
15(6)
2.2 Wotan confides in his `will' (Wagner)
21(12)
2.3 / believe in a cruel God (Verdi)
33(8)
2.4 `One fine day' (Puccini)
41(6)
2.5 Kat'a's ecstasy (Janacek)
47(9)
2.6 Now the great Bear (Britten)
56(3)
2.7 Conclusion
59(2)
3 Duets
61(32)
3.1 The Art of Seduction (Mozart)
61(8)
3.2 `On Such a Night(Berlioz)
69(5)
3.3 Love in a garret (Puccini)
74(10)
3.4 Jenufa and Laca alone (Janacek)
84(6)
3.5 Conclusion
90(3)
4 Confrontations
93(46)
4.1 Elektra and Klytamnestra (Strauss)
93(15)
4.2 Kat'a and Tichon (Janacek)
108(7)
4.3 Lulu masters Dr Schon (Berg)
115(13)
4.4 Not going to church (Britten)
128(9)
4.5 Conclusion
137(2)
5 Ensembles
139(44)
5.1 A cruel departure (Mozart)
140(7)
5.2 Lust and treachery (Verdi)
147(5)
5.3 Death in the cards (Bizet)
152(10)
5.4 Siegfried must die! (Wagner)
162(6)
5.5 `Stone her!' (Janacek)
168(10)
5.6 Conclusion
178(5)
PART TWO ENCOUNTERS
6 Noises Off
183(46)
6.1 Cassandre and the Trojan Horse (Berlioz)
183(9)
6.2 The death of Carmen (Bizet)
192(7)
6.3 Hoe! Hisse hoe! (Debussy)
199(11)
6.4 Treasure, garden and domain (Bartok)
210(8)
6.5 `Peter Grimes!' (Britten)
218(8)
6.6 Conclusion
226(3)
7 Interactions with the Numinous
229(38)
7.1 The trial by fire and water (Mozart)
231(4)
7.2 Parsifal and the Grail (Wagner)
235(10)
7.3 Kat'a and the river voices (Janacek)
245(3)
7.4 Wozzeck in the open field (Berg)
248(5)
7.5 `Fire! Fire! St John's Fire.' (Tippett)
253(10)
7.6 Conclusion
263(4)
PART THREE SHAPING THE OPERA
8 Characterization
267(26)
8.1 Veronique Gens as Iphigenie, directed by Pierre Audi
268(10)
8.2 Rodney Gilfrey as Don Giovanni, directed by Jurgen Flimm
278(5)
8.3 Teresa Stratas as Salome, directed by Gotz Friedrich
283(9)
8.4 Conclusion
292(1)
9 The Sense of Inevitability
293(20)
9.1 Carmen: Meilhac and Halevy/Bizet/Zambello
295(6)
9.2 Elektra: Hofmannsthal/Strauss/Friedrich
301(10)
9.3 Conclusion
311(2)
10 Conclusion
313(2)
Bibliography 315(4)
Select Discography 319(4)
Scores 323(2)
Index 325
Michael Ewans is Conjoint Professor of Drama in the School of Humanities, Creative Industries and Social Science at the University of Newcastle, Australia. His many publications include translations with theatrical commentaries of plays by Aeschylus, Sophocles, Euripides and Aristophanes. He is active in production, and has recently directed professional performances in his own translations of Theocritus Love Magic, Euripides Medea and Aristophanes Lysistrata. He is also the author of Performing Opera: A Practical Guide for Singers and Directors (Methuen Drama, 2016).