Description
Book SynopsisIn Staging Scenes from the Operas of Donizetti and Verdi, veteran opera director William Ferrara presents a detailed, practical exploration of the staging of twenty-one scenes from two of opera's most beloved composers. He brings to life Donizetti's delightful comedies, L'Elisir d'amore and Don Pasquale, and guides us through the haunted world of Lucia di Lammmermoor. He explores Verdi's dark themes and imagery in scenes from Rigoletto, and the heartbreaking choices of the characters in La traviata.With signature comic touches, vivid characters, and dynamic stage action, Ferrara brings tried-and-true techniques as well as lively new ideas to these favorite scenes. Topics include study and research, rehearsal planning, blocking, characterization, ideas for simplified sets and props, and costume design. The introduction to each of the five operas includes a brief description of the story and characters, and suggestions for several different approaches to stagingboth traditional and moder
Table of ContentsI. Staging Scenes from Donizetti’s L’elisir d’amore (1832): Creating a Village Chapter 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 Novel Chapter 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 Settings Chapter 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 Exercises IV. Staging Scenes from Verdi’s Rigoletto (1851): Exploring Theme and Imagery Chapter 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 Process Chapter 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 Alfredo) and Recitative and Aria, Di Provenza il mar, il suol (Germont and Alfredo)
