Prelude to Opera Workshop
Prelude to Opera Workshop

Author: Kenneth J. Pereira

Publisher:

Published: 2013

Total Pages: 61

ISBN-13:

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An opera singer must be both a complete musician and an actor. He or she must have the vocal technique to sing some of the most challenging music ever written, while also creating a believable character onstage. Despite the findings of the National Association of Schools of Music's 1984 study "The Education and Training of the Singer-Actor," the major-field curriculum for most vocal performance programs is devoted primarily to developing a student's singing voice and musicianship, with little or no curriculum dedicated to dramatic training. This document outlines a two-semester course in stage movement that is specifically designed for operatic performers. Through looking at the defining characteristics of this genre, current and historical approaches of dramatic training for the opera singer, as well as the demands of the current operatic industry, one will begin to see why the stage movement course outlined later in this document is both desirable and essential to the dramatic training of a young operatic performer.

Opera Production
Opera Production

Author: Quaintance Eaton

Publisher: U of Minnesota Press

Published: 1961-01-01

Total Pages: 286

ISBN-13: 081665753X

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Opera Production was first published in 1961. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. Designed particularly as a reference work for opera producers, students, performers, and writers, this book provides basic production information about more than 500 operas. Anyone planning to produce an opera will find here the essential information he needs in order to judge whether a given opera is appropriate to his resources for production. Information for individual operas is given concerning the number and importance of settings; size of orchestra, chorus, and ballet; number of singers, their relative importance and individual requirements; sources for obtaining musical materials' previous performances in America; and the opera story, its period, and composer. Extensive information about 150 full-length operas and 109 short operas is provided, with supplementary information about more than 260 other operas. The operas are alphabetized by title for easy reference. In order to condense the information as much as possible, codes and abbreviations are used, with keys and indexes at the back of the book. This book will be invaluable to those working in either amateur or professional companies, in opera workshops, in school, college, or civic opera groups. Those whose interest in opera is confined to the other side of the footlights will find the book absorbing, too, just as a glimpse backstage would be.

Opera Workshop
Opera Workshop

Author: Raymond Warren

Publisher:

Published: 1995

Total Pages: 302

ISBN-13:

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The starting point for 'Opera Workshop' is that opera has its own conventions, musically different from orchestral repertoire and dramatically different from the spoken theatre. The book aims to explore how the music/drama amalgam actually works and how it is to be understood, not only by the audience, but also by those taking part, the singers, producer and conductor. Examples from well known operas show how a sensitive response to the music can inform stage action and dramatic pacing.The book is structured around the relationship between stage and orchestra, covering firstly those operatic traditions where the instrumental music is solely concerned to support the singer. Later it explores the emancipation of the orchestra providing atmospheric background, and a symphonic dimension. There is a chapter on the use of speech in opera comique and Singspiel. An innovative feature of the examples is the discussion of interpretations from commercially available video films, illustrations with stills, stage diagrams and sketches.