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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.

Acting in opera. --- Opera --- Production and direction.

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Music --- opera's --- zangkunst --- Objectives of teaching --- Acting --- techniek --- Acting in opera

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operaregie --- Music --- Theatrical science --- opera's --- Acteren in opera --- Acting in opera --- Art dramatique dans l'opéra --- Bolʹshoi teatr SSSR --- Opera --- Production and direction --- Russia (Federation) --- Moscow (Russia) --- Moscow. Bolshoi --- Opera - Production and direction - Russia (Federation) - Moscow

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This book is concerned not so much with the 'prima donna' as with prime donne:_a group of working artists (sometimes famous but more often relatively_unknown and now long forgotten) and the circumstances of their professional lives. It attempts to locate these singers within a broader history, including not only the specificities of operatic stage practice but the life beyond the opera house - the social, cultural and political framing that shaped individual experience, artistic endeavour and audience reception. Rutherford addresses questions such as the multiple discourses on the image of the singer and their impact on the changing profile of the professional artist from figlia dell'arte at the beginning of the era to middle-class woman at the end; the aspect of the 'stage mother' and patronage; issues of vocal training and tuition; professional life in the operatic market-place; and performance (both vocal and dramatic) conventions and practices.

opera's --- operazangeressen --- Music --- anno 1910-1919 --- anno 1900-1909 --- anno 1800-1899 --- anno 1920-1929 --- Opera --- Acting in opera. --- Opéra --- Art de l'acteur à l'opéra --- Opera. --- Prima donnas (Singers) --- Prima donnas (Singers). --- Opéra --- Art de l'acteur à l'opéra --- Opera's --- Zangeressen --- Verenigd Koninkrijk --- 21e eeuw

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Acting in opera --- Gesture in opera --- Opera --- Performance practice (Music) --- Art de l'acteur à l'opéra --- Gestes à l'opéra --- Opéra --- Pratique de l'exécution (Musique) --- Interpretation (Phrasing, dynamics, etc.) --- History --- Interprétation --- Histoire --- Art de l'acteur à l'opéra --- Gestes à l'opéra --- Opéra --- Pratique de l'exécution (Musique) --- Interprétation --- 78.41.2 --- Zang --- Methodes --- 18e eeuw --- 17e eeuw