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El. knyga: Staging Scenes from the Operas of Mozart: A Guide for Teachers and Singers

  • Formatas: PDF+DRM
  • Išleidimo metai: 08-May-2014
  • Leidėjas: Rowman & Littlefield Publishers
  • Kalba: eng
  • ISBN-13: 9780810888432
Kitos knygos pagal šią temą:
  • Formatas: PDF+DRM
  • Išleidimo metai: 08-May-2014
  • Leidėjas: Rowman & Littlefield Publishers
  • Kalba: eng
  • ISBN-13: 9780810888432
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In Staging Scenes from the Operas of Mozart: A Guide for Teachers and Singers, opera director William Ferrara offers the perfect resource for the dramatic preparation of opera scenes for directors and student performers. Topics include study and research, rehearsal planning, blocking, characterization, and costuming for four of Mozarts most popular operas. He surveys basic concepts of opera acting and directing and provides a step-by-step guide to the rehearsal process. While much has appeared on the history and musical performance practice of the operas of Mozart, no guide to the directing and acting of his operaswith simple, concise staging instructions and practical information concerning casting, props, and costumeshas yet seen publication.

Featuring over one hundred illustrations, including costume designs by Martha Ferrara, the author breaks new ground for student performers and directors alike, as he walks readers through the process of staging scenes from Mozarts operas. The first part of the guide, which focuses on study and preparation, comprisess five chapters: ideas for organizing the opera class, a description of the job of the director, a step-by-step review of the rehearsal process, a set of five exercises for researching and analyzing the scenes, and a vocabulary for actors and directors. The next four sections of the book consist of detailed staging guides for a selection of scenes from Mozarts most frequently performed operas: Le Nozze di Figaro, Don Giovanni, Cosģ fan tutte, and Die Zauberflöte. The introduction to each scene includes a brief discussion of the story and characters, suggestions for costuming, and minimal set and props. The heart of this guide is the text and translation of each scene, embedded with line-by-line acting notes, and blocking directions and diagrams. These are for use by the actors during speaking and blocking rehearsals and are especially valuable when rehearsing recitatives.

Intended for college and university voice teachers seeking guidance for developing a scenes program or opera workshop class, this is also the perfect workbook for students studying opera stage direction, as well as graduate and undergraduate students performing opera scenes by Mozart.

Recenzijos

A resource for directors and student performers, this work provides guidance on staging four of Mozart's most popular operas, including concrete suggestions for blocking, characterization and costuming. The author, a professor and opera director himself, surveys basic concepts of opera acting and offers step-by-step instruction for the rehearsal process. * OPERA America *

List of Costume Design Illustrations
xi
Introduction xiii
Part I Organization and Preparation
1 Organizing the Class
3(8)
Goals of the Class; Written Assignments and Tests; Choosing and Casting the Scenes; Personnel; Equipment, Furniture, and Props; Scheduling; Outline of the Schedules; A Director's “r;To Do”r; List
2 The Job of the Director
11(12)
The Director as Teacher; Leading the Team; Structuring the Scenes Recital Program; Guiding the Actors' Preparation; Defining the Story and Characters; Choosing the Style and Setting; Blocking the Scene; Coaching the Actors; Integration and Imagination
3 The Rehearsal Process
23(6)
Rehearsal #1 Concept Discussions;
Rehearsal #2 Spoken Rehearsals;
Rehearsal #3 Acting Exercises;
Rehearsals #4 and #5 Blocking;
Rehearsals #6 and #7 Integrating Text, Music, and Movement;
Rehearsals #8 and #9 Evolving Security and Depth;
Rehearsals #10 and #11 Dress Rehearsals and Performance
4 Preparing the Scene: Five Assignments for Actors
29(4)
1 Researching the Opera;
2 Outlining the Scene;
3 Six Steps for Preparing a Recitative;
4 Creating a Character History;
5 Shaping an Aria
5 An Actor's Vocabulary
33(10)
Action; Asides; Blocking; Business; Character Progression; Commitment; Cover; Emotional Connection; External Conflict/Internal Conflict; Focus; Improvisation; Inhibition; Mugging; Objectives and Tactics; Obstacles; Physical Engagement; Size; Stage Directions; Stage Etiquette; Staying Open and Upstaging; Warm Ups
Part II Staging Scenes from Le Nozze di Figaro
Introduction
43(4)
6 Le Nozze di Figaro, Act I, Scene 1
47(12)
Recitative: Cosa stai misurando, caro il mio Figaretto? (Susanna and Figaro)
No. 2, Duettino: Se a caso madama la notte ti chiama (Susanna and Figaro)
No. 3, Cavatina: Se vuol ballare (Figaro)
7 Le Nozze di Figaro, Act II, Scene 1
59(6)
No. 10, Aria: Porgi, Amor, qualche ristoro (Countess)
8 Le Nozze di Figaro, Act II, Scene 1
65(8)
Recitative: Quanto duolmi, Susanna (Countess, Susanna, and Cherubino)
No. 11, Arietta: Voi che sapete (Cherubino, with Countess and Susanna)
9 Le Nozze di Figaro, Act III, Scene 1
73(12)
Recitative: Signor Cosa bramate? (Count and Susanna)
No. 17, Duettino: Crudel, perche finora (Count and Susanna)
10 Le Nozze di Figaro, Act III, Scene 1
85(6)
No. 18, Recitative accompagnato and aria: Hai gia vinta la causa (Count)
11 Le Nozze di Figaro, Act III, Scene 4
91(8)
Recitative: Cosa mi narri! (Countess and Susanna)
No. 21, Duettino: Sull'aria (Countess and Susanna)
Part III Staging Scenes from Don Giovanni
Introduction
99(4)
12 Don Giovanni, Act I, Scene 2
103(12)
Recitative: Alfin siam liberati, Zerlinetta gentil (Don Giovanni and Zerlina)
No. 7, Duettino: La ci darem la mano (Don Giovanni and Zerlina)
13 Don Giovanni, Act I, Scene 2
115(8)
Recitative: Fermati scellerato! (Donna Elvira, Zerlina, and Don Giovanni)
No. 8, Aria: Ah, fuggi il traditore! (Donna Elvira, Zerlina, and Don Giovanni)
14 Don Giovanni, Act I, Scene 2
123(12)
Recitative: Mi par ch'oggi il demonio si diverta (Don Giovanni)
No. 9, Quartet: Non ti fidar, o misera (Donna Anna, Donna Elvira, Don Ottavio, and Don Giovanni)
15 Don Giovanni, Act I, Scene 2
135(10)
Recitative: Povera sventurata (Don Giovanni, with Donna Anna and Don Ottavio)
No. 10a, Recitative accompagnato: Don Ottavio, son morta! (Donna Anna and Don Ottavio)
Aria: Or sai chi l'onore (Donna Anna and Don Ottavio)
16 Don Giovanni, Act I, Scene 2
145(6)
Recitative: Come mai creder deggio (Don Ottavio, with Donna Anna)
No. 10b, Aria: Dalla sua pace (Don Ottavio, with Donna Anna)
Part IV Staging Scenes from Cosi fan tutte
Introduction
151(4)
17 Cosi fan tutte, Act I, Scene 2
155(10)
No. 4, Duetto: Ah, Guarda sorella (Fiordiligi and Dorabella)
Recitative: Mi par che stamattina (Fiordiligi and Dorabella)
No. 5, Aria: Vorrei dir (Don Alfonso, with Fiordiligi and Dorabella)
18 Cosi fan tutte, Act I, Scene 2
165(6)
No. 6, Quintetto: Sento, o Dio, che queste piede (Fiordiligi, Dorabella, Ferrando, Guglielmo, and Don Alfonso)
19 Cosi fan tutte, Act I, Scene 3
171(8)
Recitative: Che vita maladetta (Despina, Fiordiligi, and Dorabella)
No. 11, Aria: Ah, scostati!...Smanie implacabili (Dorabella, with Fiordiligi and Despina)
20 Cosi fan tutte, Act I, Scene 4
179(12)
No. 13, Sextet: Alla bella Despinetta (Fiordiligi, Dorabella, Despina, Ferrando, Guglielmo, and Don Alfonso)
21 Cosi fan tutte, Act II, Scene 1
191(14)
Recitative: Andate la (Despina, Fiordiligi, and Dorabella)
No. 19, Aria: Una donna a quindici anni (Despina, with Fiordiligi and Dorabella)
Recitative: Dorabella, cosa dice? (Fiordiligi and Dorabella)
No. 20, Duetto: Prendero quel brunettino (Fiordiligi and Dorabella)
22 Cosi fan tutte, Act II, Scene 2
205(12)
Recitative: Passegiamo anche noi (Guglielmo and Dorabella)
No. 23, Duetto: Il core vi dono (Guglielmo and Dorabella)
Part V Staging Scenes from Die Zauberflote
Introduction
217(4)
23 Die Zauberflote, Act I, Scene 1
221(10)
No. 1, Introduction and Trio: Zu Hilfe! ... Stirb, Ungeheu'r! (Tamino and Three Ladies)
24 Die Zauberflote, Act I, Scene 2
231(12)
No. 5, Quintetto: Hm, hm, hm! (Three Ladies, Tamino, and Papageno)
25 Die Zauberflote, Act I, Scene 3
243(6)
Dialogue and No. 7, Duetto: Bei Mannern (Pamina and Papageno)
26 Die Zauberflote, Act II, Scene 2
249(6)
Dialogue and No. 14, Aria: Der Holle Rache (Queen of the Night)
27 Die Zauberflote, Act II, Scene 3
255(6)
Dialogue and No. 17, Aria: Ach, Ich Fuhl's (Pamina, with Tamino)
28 Die Zauberflote, Act II, Finale, Scene 1
261(8)
No. 21, Bald prangt ... Du also bist mein Brautigam (Pamina and Three Boys)
29 Die Zauberflote, Act II, Finale, Scene 3
269(6)
No. 21, Finale: Klinget, Glockchen, klinget! ... Pa, pa, pa, pa, Papagena! (Papageno, Papagena, Three Boys, and Children)
Conclusion 275(2)
Further Reading 277(2)
Index 279(4)
About the Author and the Costume Designer 283
William Ferrara is Director of Opera at the University of Oklahoma School of Music. He enjoys an international reputation as a stage director and acting teacher for opera. In his thirty-year career he has directed more than 150 productions of plays, musicals, and operas at colleges and professional theaters across the country and in Italy and South America.

Illustrator Martha Ferrara is head of the Undergraduate Costume Design Program at California Institute of the Arts and is an award-winning designer for theater, dance, opera, and film. She is best known for interpreting performance costumes from the works of visual artists, including Oskar Kokoschka, Grandma Moses, and Kasimir Malevich. These costumes have been exhibited at the National Gallery of ArtEast Wing, the Smithsonian Institution, and the History of Sculpture exhibit in Basel, Switzerland.