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Informationen zum Autor William Ferrara is Director of Opera at the University of Oklahoma School of Music. He enjoys an international reputation as a stage director and acting teacher for opera. In his thirty-year career he has directed more than 150 productions of plays, musicals, and operas at colleges and professional theaters across the country and in Italy and South America. He is the author of Staging Scenes from the Operas of Mozart: A Guide for Teachers and Singers (2014). Klappentext Veteran opera director William Ferrara walks the reader through the staging of twenty-five scenes from two of opera's most beloved composers. He brings to life Donizetti's delightful comedies and guides us through the dark world of Lucia di Lammmermoor. He discusses the hard moral choices in Verdi's tragedies and invigorates the grisly melodramas. Zusammenfassung Veteran opera director William Ferrara walks the reader through the staging of twenty-five scenes from two of opera’s most beloved composers. He brings to life Donizetti’s delightful comedies and guides us through the dark world of Lucia di Lammmermoor. He discusses the hard moral choices in Verdi’s tragedies and invigorates the grisly melodramas. Inhaltsverzeichnis I. Staging Scenes from Donizetti's L'elisir d'amore (1832): Creating a VillageChapter 1. Chorus, Bel conforto al mietitore (Giannetta and Villagers)Chapter 2. Recitative and Duet, Chiedi all'aura lusinghiera (Adina and Nemorino)Chapter 3. Recitative and Duet, Voglio dire (Nemorino and Dulcamara)Chapter 4. Recitative, Caro elisir, sei mio! (Nemorino) and Scene and Duet, Esulti pur la barbara (Adina and Nemorino)Chapter 5. Chorus, Saria possibile? (Giannetta and Girls) and Quartet, Dell'elisir mirabile (Adina, Giannetta, Nemorino, Dulcamara, and Girls)Chapter 6. Recitative and Duet, Quanto amore (Adina and Dulcamara)Chapter 7. Romanza, Una furtiva lagrima (Nemorino) and Aria and Duettino, Prendi per me se libero (Adina and Nemorino)II. Staging Scenes from Donizetti's Lucia di Lammermoor (1835): Incorporating Ideas from the NovelChapter 8. Recitative and Cavatina, Regnava nel silenzio (Lucia and Alisa) and Recitative and Duet, Sulla tomba che rinserra (Lucia and Edgardo)Chapter 9. Recitative and Duet, Il pallor funesto, orrendo (Normanno, Enrico, and Lucia)Chapter 10. Recitative and Sextet, Chi mi frena in tal momento (Lucia, Alisa, Edgardo, Arturo, Enrico, and Raimondo)III. Staging Scenes from Donizetti's Don Pasquale (1843): Experimenting with Three Different SettingsChapter 11. Arias, Bella siccome un angelo (Dr. Malatesta with Don Pasquale) and Un foco insolito (Don Pasquale)Chapter 12. Aria, So anch'io la virtu magica (Norina) and Duet, Pronta io son (Norina and Malatesta) Chapter 13. Trio, Via, da brava (Norina, Malatesta, and Don Pasquale)Chapter 14. Serenade and Nocturne, Com'è gentil (Ernesto and Chorus) and Duet, Tornami a dir che m'ami (Ernesto and Norina)Intermezzo: Improvisations and ExercisesIV. Staging Scenes from Verdi's Rigoletto (1851): Exploring Theme and ImageryChapter 15. Duet, Deh, non parlare al misero (Gilda, Rigoletto, and Giovanna)Chapter 16. Recitative and Duet, Signor ne principe io lo vorrei (Gilda, Duke, and Giovanna) and Recitative and Aria, Caro nome (Gilda)Chapter 17. Recitative and Duet, Tutte le feste al tempio (Gilda and Rigoletto)Chapter 18. Recitative and Canzone, E l'ami?. . . La donna è mobile (Gilda, Rigoletto, and Duke) and Quartet, Un dì, se ben rammentomi (Duke, Maddalena, Rigoletto, and Gilda)V. Staging Scenes from Verdi's La traviata (1853): The Actor's ProcessChapter 19. Duet, Un dì felice, eterea (Violetta and Alfredo) and Recitative and Aria, Ah, fors'è lui che l'anima . . . Sempre libera (Violetta)Chapter 20. Scene and Duet, Pure siccome un angelo . . . Dite alla giovine . . . Morrò! la mia memoria (Violetta, Germont, Annina, and Giuseppe)Chapter 21. Scene, Dammi tu forza, o cielo! (Violetta and Alfre...
