Designed for music students and opera-goers, this book enables a thorough understanding of what opera is and how it works, with an emphasis on its dramatic experience. Organised chronologically, the book shows how the many different kinds of opera have developed and explores specific examples using accessible illustrative tables. What is opera and how does it work? How has this dramatic form developed and what is its relevance in the modern world? Perfect for music students and opera-goers, this introductory guide addresses these questions and many more, exploring opera as a complete…mehr
Designed for music students and opera-goers, this book enables a thorough understanding of what opera is and how it works, with an emphasis on its dramatic experience. Organised chronologically, the book shows how the many different kinds of opera have developed and explores specific examples using accessible illustrative tables.What is opera and how does it work? How has this dramatic form developed and what is its relevance in the modern world? Perfect for music students and opera-goers, this introductory guide addresses these questions and many more, exploring opera as a complete theatrical experience. Organised chronologically and avoiding technical musical terminology, the book clearly demonstrates how opera reflected and reacted to changes in the world around it. A special feature of the volume is the inclusion of illustrative tables throughout. These provide detailed, easy to follow analysis of arias, scenes and acts; visual guides to historical movements; and chronologies relating to genres and individual composers' works. Overall, the book fosters an understanding of opera as a living form as it encounters and uses material from an ever expanding repertoire in time, place and culture.
JAMES CANNON James Cannon specialises in organisation design and development and has consulted with organisations in the UK, North America, Europe, Middle East, Africa and Asia. He works as a coach to directors and senior executives, as well as mediating and facilitating events designed to improve the effectiveness of Boards and organisations. He speaks regularly to directors and at conferences and ran an extensive range of training courses for the Chartered Institute of Personnel and Development (CIPD) in the UK, as well as for other organisations. He was a visiting lecturer at Geneva University. He was a fellow of two institutes (CIPD and CMI), British Psychological Society member and Manpower Society prize winner. He was formerly special adviser to the CIPD. In 2016, he gained an award from the British Government for his work in leadership development. With a degree in Behavioural Science, a master's degree in Manpower Studies and a doctorate in Organisational Psychology, his career has included director appointments at Charterhouse, Black and Decker and Thorn EMI, in Organisation Development, Human Resources, Information Technology and General Management, including founding and becoming Chief Executive of Solutions Electronic Services. In 1989, he started his own consultancy, as well as co-founding Cavendish Partners, now merged with Right Management, a firm specialising in career counselling and coaching for senior executives. He is a trustee of Trinity, a charity working with homelessness in London; and of the Tracy Trust, a charity helping pensioners in Buckinghamshire. He has written several books, including Cost-Effective Personnel Decisions, Database Directory, Giving Feedback, Making the Business Case, Talent Management and Succession Planning, Organisation Development and Change (the latter two with Rita McGee), Organisation Design and Capability Building (with Rita McGee and Naomi Stamford) and workbooks such as Team-Based Problem-Solving and the Career Review workbook. He was consulting editor of Toolclicks, the online service from CIPD. ROBERT CANNON Robert Cannon is a teacher, coach, facilitator and educator specialising in the arts and entertainment industry. He draws upon two decades of experience on the frontline of the music business in his work with the organisations and practitioners at the forefront of the arts and entertainment industry, as well as with the students who are its future. He has worked in the UK, USA, Australia and throughout Europe. Rob is currently an academic lecturer in Arts & Entertainment Management at the Australian Institute of Music (AIM), having previously served as head of school and overseeing the degree programmes in Arts and Entertainment Management, Composition and Music Production, Audio Engineering and Dramatic Arts. Rob continues to write and teach a broad variety of courses and classes, including Creativity, Marketing, Strategic Partnerships, Introduction to Arts and Entertainment Management, Performance Psychology and others. Rob has spent 20 years working in music. His first brush with the music industry was as a guitarist and pianist in several rock and jazz bands in the UK, before he started his career on the business side of the industry at Clive Davis' J Records in New York. Rob subsequently worked in A&R and marketing for several Sony and BMG labels in New York, London and Sydney, working with artists ranging from Rod Stewart to Alicia Keys to Maroon 5. Rob has coached individuals within the arts and entertainment industry and has designed workshops for various music and entertainment companies. He has authored and presented talks and conference papers on teaching and harnessing creativity within the arts, and on applying techniques from the field of positive and performance psychology within the arts. He has also appeared on panels at various music industry conferences, and has written about music, the arts and trave...
Inhaltsangabe
Introduction; Part I: 1. Pre-operatic forms; 2. First operatic forms: Peri, Caccini, Monteverdi, Cavalli, Keiser; 3. Formalization; 4. Reform - the reintegration of elements; 5. Comedy and the 'real world'; 6. 'Authentic' performance; Part II: 7. Romanticism and romantic opera in Germany; 8. Opera in nineteenth-century Italy; 9. Grand Opéra and the visual language of opera; 10. The Wagnerian revolution; 11. Nationalists: vernacular language and music; 12. The role of the singer; Part III: 13. The turn of the century and the crisis in opera; 14. First modernism: symbolist and expressionist opera; 15. The dramaturgy of opera: libretto - words and structure; 16. Narrative opera: realistic and non-realistic; 17. Radical narratives; 18. Directors and the direction of opera; Appendices: 1. Motifs from Der Ring; 2. The development of singing voices; 3. The development of lyric theatre alternatives to 'opera'; 4. Some major operas, artistic and political events of the twentieth century; Glossary of terms; Bibliography.
Introduction Part I: 1. Pre-operatic forms 2. First operatic forms: Peri, Caccini, Monteverdi, Cavalli, Keiser 3. Formalization 4. Reform - the reintegration of elements 5. Comedy and the 'real world' 6. 'Authentic' performance Part II: 7. Romanticism and romantic opera in Germany 8. Opera in nineteenth-century Italy 9. Grand Opéra and the visual language of opera 10. The Wagnerian revolution 11. Nationalists: vernacular language and music 12. The role of the singer Part III: 13. The turn of the century and the crisis in opera 14. First modernism: symbolist and expressionist opera 15. The dramaturgy of opera: libretto - words and structure 16. Narrative opera: realistic and non-realistic 17. Radical narratives 18. Directors and the direction of opera Appendices: 1. Motifs from Der Ring 2. The development of singing voices 3. The development of lyric theatre alternatives to 'opera' 4. Some major operas, artistic and political events of the twentieth century Glossary of terms Bibliography.
Introduction; Part I: 1. Pre-operatic forms; 2. First operatic forms: Peri, Caccini, Monteverdi, Cavalli, Keiser; 3. Formalization; 4. Reform - the reintegration of elements; 5. Comedy and the 'real world'; 6. 'Authentic' performance; Part II: 7. Romanticism and romantic opera in Germany; 8. Opera in nineteenth-century Italy; 9. Grand Opéra and the visual language of opera; 10. The Wagnerian revolution; 11. Nationalists: vernacular language and music; 12. The role of the singer; Part III: 13. The turn of the century and the crisis in opera; 14. First modernism: symbolist and expressionist opera; 15. The dramaturgy of opera: libretto - words and structure; 16. Narrative opera: realistic and non-realistic; 17. Radical narratives; 18. Directors and the direction of opera; Appendices: 1. Motifs from Der Ring; 2. The development of singing voices; 3. The development of lyric theatre alternatives to 'opera'; 4. Some major operas, artistic and political events of the twentieth century; Glossary of terms; Bibliography.
Introduction Part I: 1. Pre-operatic forms 2. First operatic forms: Peri, Caccini, Monteverdi, Cavalli, Keiser 3. Formalization 4. Reform - the reintegration of elements 5. Comedy and the 'real world' 6. 'Authentic' performance Part II: 7. Romanticism and romantic opera in Germany 8. Opera in nineteenth-century Italy 9. Grand Opéra and the visual language of opera 10. The Wagnerian revolution 11. Nationalists: vernacular language and music 12. The role of the singer Part III: 13. The turn of the century and the crisis in opera 14. First modernism: symbolist and expressionist opera 15. The dramaturgy of opera: libretto - words and structure 16. Narrative opera: realistic and non-realistic 17. Radical narratives 18. Directors and the direction of opera Appendices: 1. Motifs from Der Ring 2. The development of singing voices 3. The development of lyric theatre alternatives to 'opera' 4. Some major operas, artistic and political events of the twentieth century Glossary of terms Bibliography.
Rezensionen
'Cannon's passion for the topic shines through - each chapter is peppered with little details that a more detached author may have thought unnecessary. Even a novice who has never seen a particular production will suddenly feel oddly familiar with it. Students of music and opera will find the uncluttered and jargon-less yet still erudite tone of this book invigorating, and are sure to be reaching for it as a first port of call. And there's certainly no room to doubt Cannon's authority - he created the first ever degree in opera studies. One for your reading lists, class.' Laura Sylvester, Muso
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