An Interpretive Guide to Operatic Arias: A Handbook for Singers, Coaches, Teachers, and Students

Predný obal
Penn State Press, 2003 - 368 strán (strany)

A premier singer and master teacher here tells other singers how to get the most from 151 famous arias selected for their popularity or their greatness from 66 operas, ranging in time and style from Christopher Gluck to Carlisle Floyd, from Mozart to Menotti. "The most memorable thrills in an opera singer's life," according to the author's Introduction, "may easily derive from the great arias in his or her repertoire."

This book continues the work Martial Singher has done, in performances, in concerts, and in master classes and lessons, by drawing attention "not only to precise features of text, notes, and markings but also to psychological motivations and emotional impulses, to laughter and tears, to technical skills, to strokes of genius, and even here and there to variations from the original works that have proved to be fortunate."

For each aria, the author gives the dramatic and musical context, advice about interpretation, and the lyric--with the original language (if it is not English) and an idiomatic American English translation, in parallel columns. The major operatic traditions--French, German, Italian, Russian, and American--are represented, as are the major voice types--soprano, mezzo-soprano, tenor, baritone, bass-baritone, and bass.

The dramatic context is not a mere summary of the plot but is a penetrating and often witty personality sketch of an operatic character in the midst of a situation. The musical context is presented with the dramatic situation in a cleverly integrated way. Suggestions about interpretation, often illustrated with musical notation and phonetic symbols, are interspersed among the author's explication of the music and the action. An overview of Martial Singher's approach--based on fifty years of experience on stage in a hundred roles and in class at four leading conservatories--is presented in his Introduction. As the reader approaches each opera discussed in this book, he or she experiences the feeling of participation in a rehearsal on stage under an urbane though demanding coach and director.

The Interpretive Guide will be of value to professional singers as a source of reference or renewed inspiration and a memory refresher, to coaches for checking and broadening personal impressions, to young singers and students for learning, to teachers who have enjoyed less than a half century of experience, and to opera broadcast listeners and telecast viewers who want to understand what goes into the sounds and sights that delight them.

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Obsah

III
1
IV
3
V
6
VI
7
VII
8
VIII
10
IX
12
X
13
XCI
179
XCII
181
XCIII
183
XCIV
185
XCV
187
XCVII
189
XCVIII
191
XCIX
193

XI
15
XII
17
XIII
20
XIV
23
XV
26
XVI
28
XVII
31
XVIII
34
XIX
37
XX
39
XXI
42
XXII
44
XXIII
46
XXIV
49
XXVI
51
XXVII
53
XXX
55
XXXII
57
XXXIV
59
XXXVI
64
XXXVII
66
XXXVIII
68
XXXIX
70
XL
73
XLI
75
XLII
78
XLIII
81
XLIV
82
XLV
84
XLVI
87
XLVIII
89
L
91
LI
93
LIII
95
LIV
99
LV
101
LVI
104
LVII
107
LVIII
108
LIX
111
LX
114
LXI
117
LXII
120
LXIII
121
LXIV
124
LXV
125
LXVI
128
LXVII
130
LXVIII
133
LXIX
137
LXX
138
LXXI
140
LXXII
142
LXXIII
145
LXXIV
146
LXXV
148
LXXVII
150
LXXVIII
152
LXXIX
154
LXXX
155
LXXXII
157
LXXXIII
160
LXXXIV
163
LXXXV
165
LXXXVI
167
LXXXVII
169
LXXXVIII
171
LXXXIX
174
XC
177
CI
194
CII
196
CIII
198
CIV
199
CV
202
CVI
203
CVII
205
CVIII
207
CIX
208
CX
210
CXI
211
CXIII
213
CXIV
214
CXV
216
CXVI
217
CXVII
221
CXVIII
224
CXIX
226
CXX
229
CXXI
231
CXXII
234
CXXIII
236
CXXIV
238
CXXVI
242
CXXVII
244
CXXVIII
246
CXXIX
249
CXXX
251
CXXXI
254
CXXXII
256
CXXXIII
259
CXXXIV
261
CXXXV
263
CXXXVII
266
CXXXVIII
269
CXXXIX
272
CXL
274
CXLI
277
CXLIII
279
CXLIV
282
CXLV
284
CXLVI
286
CXLVII
288
CXLIX
291
CLI
294
CLII
295
CLIV
297
CLV
301
CLVII
303
CLVIII
306
CLIX
308
CLX
310
CLXI
312
CLXII
315
CLXIV
317
CLXV
321
CLXVI
324
CLXVII
327
CLXVIII
329
CLXIX
332
CLXX
334
CLXXII
336
CLXXIII
338
CLXXIV
341
CLXXV
343
CLXXVI
346
CLXXVII
349
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O tomto autorovi (2003)

Martial Singher was director of the voice and opera department at the Music Academy of the West in Santa Barbara, and served on the faculties of the Curtis Institute of Music, Chicago Musical College, Mannes College, and the Aspen and Marlboro Festivals. He performed with the Paris, Metropolitan, Chicago, and San Francisco Opera Companies and the Teatro Colon in Buenos Aires.

Bibliografické informácie