Table of Contents
Acknowledgments
Introduction
Why you want artistic self-empowerment
Why you have been denied it
Notes to coach-accompanists and aspiring opera conductors
Part I: Tools for Musical Self-Empowerment
Chapter 1: Know Where You’re Going
Chapter 2: Where to Begin: Text analysis and Expression Marks
- Expression Marks
Chapter 3: Ornamentation and Recitative
- Recitative
Part II: Performance Practice
Chapter 4: Performance Practice: Overview
- Music before Mozart
- Mozart
- The bel canto composers
- Verdi and Wagner
- Verismo
- Modern music
Chapter 5: Song Interpretation
- German Lieder
- French Mélodies
Chapter 6: Abstract Music and Vocalises
Chapter 7: Performance Practice: Conclusion
- Vocal Elegance and Purity
- Technique-Be-Damned Hyper-emotionalism
- Portamenti as an expressive device
Part III: Musical Musings
Chapter 8: Some Vexing Musical Examples
Chapter 9: The (In)validity of Tradition in Vocal Music
Chapter 10: Professional Artistic Collaboration Strategies
- Talking with conductors
- Talking with stage directors
- Talking with your harpsichordist or continuo group leader
- Interacting with your singer colleagues
Chapter 11: Audition Strategies
Chapter 12: Maria Callas: Self-Effacing Purist
Part IV: Six Example Analyses
Chapter 13: Six Example Analyses
- “Mi chiamano Mimi,” from La Bohéme by Puccini
- “Se come voi piccina,” from Le villi by Puccini
- “All’affitto e dolce il pianto,” from Roberto Devereaux by Donizetti
- “Va! laisse couler mes larmes!,” from Werther by Massenet
- “Il lacerato spirito,” from Simon Boccanegra by Verdi
- Du bist wie eine Blume, Lied by Schumann
Part V: Interview with Great Singing Actors
Conclusions from, and an Introduction to, Interviews
Chapter 14: Harolyn Blackwell
Chapter 15: Barbra Hannigan
Chapter 16: Audra McDonald
Chapter 17: Diana Soviero
Chapter 18: Christa Ludwig
Chapter 19: Iestyn Davies
Chapter 20: Jonas Kaufmann
Chapter 21: Davóne Tines
Afterword | References | Index | About the Author