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Performing Opera Summary

Performing Opera: A Practical Guide for Singers and Directors by Michael Ewans (University of Newcastle, Australia)

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.

About Michael Ewans (University of Newcastle, Australia)

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).

Table of Contents

1 Introduction PART ONE: FORMS 2 Arias and Monologues 2.1 'Great work, boss!' (Mozart) 2.2 Wotan confides in his 'will' (Wagner) 2.3 Iago's Credo (Verdi) 2.4 'One fine day...' (Puccini) 2.5 Kat'a's ecstasy (Janacek) 2.6 'Now the Great Bear...' (Britten) 2.7 Conclusion 3 Duets 3.1 The art of seduction (Mozart) 3.2 'On such a night...' (Berlioz) 3.3 Love in a garret (Puccini) 3.4 Jenufa and Laca alone (Janacek) 3.5 Conclusion 4 Confrontations 4.1 Elektra and Klytamnestra (Strauss) 4.2 Kat'a and Tichon (Janacek) 4.3 Lulu masters Dr Schoen (Berg) 4.4 Not going to church (Britten) 4.5 Conclusion 5 Ensembles 5.1 A cruel departure (Mozart) 5.2 Lust and treachery (Verdi) 5.3 Death in the cards (Bizet) 5.4 Siegfried must die! (Wagner) 5.5 'Stone her!' (Janacek) 5.6 Conclusion PART TWO: ENCOUNTERS 6 Noises off 6.1 Cassandre and the Trojan horse (Berlioz) 6.2 The death of Carmen (Bizet) 6.3 'Hoe! Hisse hoe!' (Debussy) 6.4 Treasure, flowers and domain (Bartok) 6.5 'Peter Grimes!' (Britten) 6.6 Conclusion 7 Interactions with the numinous 7.1 The trial by fire and water (Mozart) 7.2 Parsifal and the Grail (Wagner) 7.3 Kat'a and the river voices (Janacek) 7.4 Wozzeck in the open field (Berg) 7.5 'Fire! Fire! St John's Fire.' (Tippett) 7.6 Conclusion PART THREE: SHAPING THE OPERA 8 Characterization 8.1 Veronique Gens as Iphigenie, directed by Pierre Audi 8.2 Rodney Gilfrey as Don Giovanni, directed by Jurgen Flimm 8.3 Teresa Stratas as Salome, directed by Goetz Friedrich 8.4 Conclusion 9 The Sense of Inevitability 9.1 Carmen: Meilhac & Halevy/Bizet /Zambello 9.2 Elektra; Hofmannsthal/ Strauss/Friedrich 9.3 Conclusion 10 Conclusion Bibliography, Discography, Scores

Additional information

GOR013616242
9781474239073
1474239072
Performing Opera: A Practical Guide for Singers and Directors by Michael Ewans (University of Newcastle, Australia)
Used - Like New
Paperback
Bloomsbury Publishing PLC
20160225
352
N/A
Book picture is for illustrative purposes only, actual binding, cover or edition may vary.
The book has been read, but looks new. The book cover has no visible wear, and the dust jacket is included if applicable. No missing or damaged pages, no tears, possible very minimal creasing, no underlining or highlighting of text, and no writing in the margins

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