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Bringing opera to life; operatic acting and stage direction.

Author: Boris Goldovsky
Publisher: New York, Appleton-Century-Crofts [1968]
Edition/Format:   Print book : EnglishView all editions and formats
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Additional Physical Format: Online version:
Goldovsky, Boris.
Bringing opera to life.
New York, Appleton-Century-Crofts [1968]
(OCoLC)593742328
Document Type: Book
All Authors / Contributors: Boris Goldovsky
OCLC Number: 438827
Description: x, 424 pages illustrations, music 25 cm
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.

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