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 |
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viii | |
Foreword |
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xi | |
Preface |
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xiii | |
How to use this book |
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xv | |
Acknowledgements |
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xviii | |
About the Author |
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xix | |
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1 | (14) |
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15 | (46) |
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2.1 `Great work, boss!' (Mozart) |
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15 | (6) |
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2.2 Wotan confides in his `will' (Wagner) |
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21 | (12) |
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2.3 / believe in a cruel God (Verdi) |
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33 | (8) |
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2.4 `One fine day' (Puccini) |
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41 | (6) |
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2.5 Kat'a's ecstasy (Janacek) |
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47 | (9) |
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2.6 Now the great Bear (Britten) |
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56 | (3) |
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59 | (2) |
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61 | (32) |
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3.1 The Art of Seduction (Mozart) |
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61 | (8) |
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3.2 `On Such a Night(Berlioz) |
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69 | (5) |
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3.3 Love in a garret (Puccini) |
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74 | (10) |
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3.4 Jenufa and Laca alone (Janacek) |
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84 | (6) |
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90 | (3) |
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93 | (46) |
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4.1 Elektra and Klytamnestra (Strauss) |
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93 | (15) |
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4.2 Kat'a and Tichon (Janacek) |
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108 | (7) |
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4.3 Lulu masters Dr Schon (Berg) |
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115 | (13) |
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4.4 Not going to church (Britten) |
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128 | (9) |
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137 | (2) |
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139 | (44) |
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5.1 A cruel departure (Mozart) |
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140 | (7) |
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5.2 Lust and treachery (Verdi) |
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147 | (5) |
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5.3 Death in the cards (Bizet) |
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152 | (10) |
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5.4 Siegfried must die! (Wagner) |
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162 | (6) |
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5.5 `Stone her!' (Janacek) |
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168 | (10) |
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178 | (5) |
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183 | (46) |
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6.1 Cassandre and the Trojan Horse (Berlioz) |
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183 | (9) |
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6.2 The death of Carmen (Bizet) |
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192 | (7) |
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6.3 Hoe! Hisse hoe! (Debussy) |
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199 | (11) |
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6.4 Treasure, garden and domain (Bartok) |
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210 | (8) |
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6.5 `Peter Grimes!' (Britten) |
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218 | (8) |
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226 | (3) |
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7 Interactions with the Numinous |
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229 | (38) |
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7.1 The trial by fire and water (Mozart) |
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231 | (4) |
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7.2 Parsifal and the Grail (Wagner) |
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235 | (10) |
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7.3 Kat'a and the river voices (Janacek) |
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245 | (3) |
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7.4 Wozzeck in the open field (Berg) |
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248 | (5) |
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7.5 `Fire! Fire! St John's Fire.' (Tippett) |
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253 | (10) |
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263 | (4) |
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PART THREE SHAPING THE OPERA |
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267 | (26) |
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8.1 Veronique Gens as Iphigenie, directed by Pierre Audi |
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268 | (10) |
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8.2 Rodney Gilfrey as Don Giovanni, directed by Jurgen Flimm |
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278 | (5) |
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8.3 Teresa Stratas as Salome, directed by Gotz Friedrich |
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283 | (9) |
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292 | (1) |
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9 The Sense of Inevitability |
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293 | (20) |
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9.1 Carmen: Meilhac and Halevy/Bizet/Zambello |
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295 | (6) |
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9.2 Elektra: Hofmannsthal/Strauss/Friedrich |
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301 | (10) |
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311 | (2) |
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313 | (2) |
Bibliography |
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315 | (4) |
Select Discography |
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319 | (4) |
Scores |
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323 | (2) |
Index |
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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).