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Mary Elaine Wallace-House - Opera Scenes for Class and Stage

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title Opera Scenes for Class and Stage author Wallace Mary - photo 1

title:Opera Scenes for Class and Stage
author:Wallace, Mary Elaine.; Wallace, Robert
publisher:Southern Illinois University Press
isbn10 | asin:0809309033
print isbn13:9780809309030
ebook isbn13:9780585182452
language:English
subjectOpera--Production and direction.
publication date:1979
lcc:MT955.W24eb
ddc:782.1/071
subject:Opera--Production and direction.
Page i
Picture 2
Page iii
Opera Scenes for Class and Stage
Mary Elaine Wallace
Robert Wallace
Southern Illinois University Press
Carbondale and Edwardsville
Feffer & Simons, Inc.
London and Amsterdam
Page iv
Copyright 1979 by Southern Illinois University Press
All rights reserved
Printed in the United States of America
Designed by Robert L. Nance
Library of Congress Cataloging in Publication Data
Wallace, Mary Elaine.
Opera scenes for class and stage.
Bibliography: p.
1. OperaProduction and direction. I. Wallace,
Robert, 1945 joint-author. II. Title.
MT955.W24 782.1.071 78-11095
ISBN O-8093-0903-3
Page v
Contents
Preface
vii
A Note on the Text
xi
Table of Voice Categories
xiii
Opera Scenes
1
Selected Bibliography
229
Index of Operas
231
Index of Composers
235
Index of Arias and Ensembles
239
Index to Editions of Piano-Vocal Scores
257

Page vii
Preface
Scenes extracted from the wealth of available operatic literature have served for many years as an educational and performance resource for professional and collegiate opera workshops, private voice studios, and summer opera institutes. Scenes may range from the solo aria enacted by a vocalist in a recital situation to an extended excerpt requiring a company of singing actors and actresses performing on stage with all the accouterments of a complete productionorchestra, costumes, makeup, props, scenery, and lighting. In every circumstance, the selection is dependent upon a director, conductor, or teacher who knows the vast operatic repertory and can select appropriate material with ease. Such selection requires more than a general knowledge of operas and their casts.
Some years ago, faced with the problem of having to make such selections of scenes literally overnight, we began notating appropriate excerpts on cards and filing them for quick reference. These cards were our computer; they were indexed to remind us of scenes which used various combinations of voices, and they also contained additional pertinent information. How long was the excerpt? What were the vocal ranges, not of the entire opera role, but of the portion included in the scene? On what pages of readily accessible piano-vocal scores would we find this scene? The demand for this kind of information has not diminished, and at the urging of opera directors, conductors, voice teachers, students, and friends, this book has become a reality.
Page viii
For most persons involved in selecting opera excerpts, the time-consuming task begins with a list of the voices available. More than one opera director has walked into a workshop situation to find a number of women with fine voices and only a few mature male singers. What scenes would be appropriate? Teachers have even called us long distance asking such questions as: What can I choose that will use two excellent sopranos but will also include a young tenor who should not attempt a major aria until his vocal production is more secure, but who does need maximum exposure to opera and to acting? In the Table of Voice Categories one may even find the suitable scene in which the leading tenor of the opera has a small amount of music in a comfortable tessitura while the burden of the singing falls on the two sopranos.
Frequently persons participating in short-term opera workshops have a repertory of arias or duets already memorized; a choice of scenes using these may be the answer when rehearsal time is at a premium. Certainly it will be advantageous for the singer to perform the aria in its proper setting within the opera. An in-depth study of the character the singer is portraying and a development of the emotions and physical tensions inherent in the action and interaction of the scene can result in a more convincing performance of an aria. For this reason, we have included an index showing the excerpts in which familiar arias, duets, and ensembles appear.
The short synopsis of the action of each excerpt should whet the imagination of the person using this book. For some this may be unnecessary information; the mere title of the opera may be enough to visualize the time, place, characters, and action of the excerpt. For those who wish to pursue it further, we have included page numbers for the published piano-vocal scores most frequently found on library shelves. If the reader has access to other piano-vocal scores of the same opera, it is not difficult to find the excerpt. The page numbers are approximately the same in all scoresthey may even have come from the same original platesand certainly the plot outlined by us can be found by looking through the text of any published score of the opera.
In timing the scenes only an approximation of the length is given but in planning a workshop program, or excerpts for a voice recital, it is easy to have too much material. Some cuts have been
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