Book contents
- Frontmatter
- Dedication
- Contents
- Note on the English edition
- Acknowledgements
- Preface
- Miscellaneous Frontmatter
- What is opera?
- The heart
- The seven ‘W’ s
- Sense and sensuality
- Bodies in space
- Movement
- Le physique du rôle
- Discomfort and inconvenience
- Bank robbers
- Pretend theatre
- The ‘trizophrenic’ upbeat
- The complete music-actor
- Mozart
- Recitative
- Being comic
- ‘Too many notes …’
- Dramaturgy
- Breaking the rules
- The harmony of the spheres
- In place of an epilogue: My teachers
- APPENDIX 1 All the ‘useful rules’ in overview, for those who make opera
- APPENDIX 2 A masterclass in opera, for those who love it or hate it
- Index of names and works
APPENDIX 1 - All the ‘useful rules’ in overview, for those who make opera
Published online by Cambridge University Press: 25 October 2017
- Frontmatter
- Dedication
- Contents
- Note on the English edition
- Acknowledgements
- Preface
- Miscellaneous Frontmatter
- What is opera?
- The heart
- The seven ‘W’ s
- Sense and sensuality
- Bodies in space
- Movement
- Le physique du rôle
- Discomfort and inconvenience
- Bank robbers
- Pretend theatre
- The ‘trizophrenic’ upbeat
- The complete music-actor
- Mozart
- Recitative
- Being comic
- ‘Too many notes …’
- Dramaturgy
- Breaking the rules
- The harmony of the spheres
- In place of an epilogue: My teachers
- APPENDIX 1 All the ‘useful rules’ in overview, for those who make opera
- APPENDIX 2 A masterclass in opera, for those who love it or hate it
- Index of names and works
Summary
What is opera?
✭ Opera: enacting a story through music.
✭ Understand the difference between music, and music for a purpose.
✭ Define the purpose of the music.
✭ Become a ‘music detective’.
✭ Know the orchestra.
✭ Give the orchestra a reason to play.
✭ Train your imagination.
The heart
✭ Go straight to the heart.
The seven ‘W’ s
✭ Start with the six ‘W’ s: Who? Where? When? What? hoW? Why?
✭ Then define the seventh: Whom? – the addressee.
✭ Locate the addressee.
✭ Change the addressee where necessary.
✭ If the addressee is imaginary, choose a fixed point and address it instead.
Sense and sensuality
✭ Find out: what does the work mean?
✭ Consider: what does your role contribute to it?
✭ Make sense. Both in the details and in the overall context.
✭ Sense trumps effect.
Bodies in space
✭ The body in the space is already part of the action.
✭ Develop a feeling for space in relation to your co-performers.
✭ Sameness is boring. Be dissimilar.
✭ The singer stands further upstage, the listener further downstage.
✭ Position yourself according to the golden section, not in the centre.
✭ A king can't play himself. Those surrounding him play him.
✭ Stand at an angle to the stage ramp, not in the ‘pancake position’.
✭ Maintain your relationship with your partner. Avoid the ‘tenor's turn’.
✭ Seek a position between two fronts. It's dramatically effective.
✭ Wherever possible, place the leading voice in an ensemble on the left.
✭ Leave space around you. Otherwise objects can become competitors.
✭ Hold your stance – don't wobble around.
✭ When you move, make sure it's with a purpose and a specific goal.
✭ Violence and torture have a greater impact on a live body on stage than in the two-dimensional images of film and TV.
✭ Fill the space with breath. If the audience coughs, you've got too little breath.
✭ Regard sentences and musical phrases as the arch of a bridge. Make sure to reach the other side.
✭ Master the play of tension and release.
- Type
- Chapter
- Information
- The Crafty Art of Opera , pp. 151 - 162Publisher: Boydell & BrewerPrint publication year: 2016