From the score to the stage : an illustrated history of continental opera production and staging /
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| Author / Creator: | Baker, Evan (Opera historian) |
|---|---|
| Imprint: | Chicago ; London : The University of Chicago Press, 2013. |
| Description: | xxiii, 439 pages : illustrations ; 32 cm |
| Language: | English |
| Subject: | |
| Format: | Print Book |
| Local Note: | University of Chicago copy includes original dust jacket. |
| URL for this record: | http://pi.lib.uchicago.edu/1001/cat/bib/9789818 |
Table of Contents:
- List of Illustrations
- Preface
- Acknowledgments
- Overture
- Chapter 1. 1637-1700: The Beginnings
- Competition among Theaters
- The First Public Opera House and Andromeda
- An Early Theater Technician's Handbook
- A Revolution in Opera Production: Giacomo Torelli, grand sorcier
- A Treatise on Stage Machinery
- The Opera Impresario: Marco Faustini and Theatrical Competition
- German Lands
- Lodovico Burnacini: Il Pomo d'oro
- France: Jean-Baptiste Lully and the Establishment of the Académie royale de musique
- Chapter 2. 1700-1750: Perspectives with a New View
- Opera seria: Its Rules and Reforms
- Pietro Metastasio, Librettist and Stage Director
- New Theaters and Audiences
- Stage Design and Production Practices before Galli-Bibiena
- The Vanishing Point
- Ferdinando Galli-Bibiena, the "Paul Veronese of the Theater"
- A New Method of "Viewing Theatrical Scenes at an Angle"
- The Spectacle Builds: Jean-Philippe Rameau, Giovanni Niccolò Servandoni, and the Paris Opéra
- Lighting the Stage
- Gestures and Acting
- Directing the Singers
- Chapter 3. 1750-1800: Theater for the Greater Public
- The Great Reform Operas of Christoph Willibald von Gluck: Orfeo ed Euridice and Alceste
- Directing and Rehearsing the Opera
- Idomeneo, re di Creta
- Onstage Movements
- Spectacle and New Technology
- Stage Lighting
- Revolutionary New Light
- National Theater in Vienna: The Burgtheater
- Private, For-Profit Theaters in Suburban Vienna: The "Freihaus" Theater
- Chapter 4. 1800-1850: Romanticism in Germany
- German Romanticism
- German Theaters: Construction, Personnel, and Production Styles
- Performance Conditions
- Count Karl von Brühl and Karl Friedrich Schinkel: "Make This the Best Theater in Germany!"
- Brühl's Designer: Schinkel and Die Zauberflöte
- Publication of German Stage Designs
- Schinkel's New Theater: A Lost Opportunity
- Carl Maria von Weber: "I Won't Stand for That Schnickschnack!"
- The Greatest Romantic Opera: Der Freischütz
- Continuing the Change in Theater Architecture: Gottfried Semper and the Dresden Opera House
- Chapter 5. 1800-1850: French Grand Opera
- L'état, C'est Grand Opéra
- The Temple of French Grand Opera
- "Coup de Théâtre": The Boulevard Theaters and Popular Entertainments Challenge the Opéra
- Aladin, ou la Lampe merveilleuse: The Opéra and New Technology
- The First True Opera Stage Director: Jacques Solomé
- The livret de mise-en-scène
- A Volcanic Explosion: La Muette de Portici
- The Middle-Class Ascendant at the Opéra
- The Claque
- Romanticism, Robert le Diable, and Grand Opera: "These Are Impossible Things; One Has to See It to Believe It. It's Prodigious! It's Prodigious!"
- "Nonnes, M'entendez-Vous?" / "Nuns, Do You Hear Me?"
- The Phenomenon of Robert le Diable
- Chapter 6. 1800-1850: Italy
- The Italian Operagoing Public
- The Opera House: Center of the Community
- Music Publishing in Italy
- The Evolution of the Italian Stage Director
- Stage Design and Theater Architecture: Polemics and Theory
- Alessandro Sanquirico
- The Impresarios: "This Infamous Profession"
- Domenico Barbaja: "The Prince of Impresarios"
- Bartolomeo Merelli: The "Napoleon" of Impresarios
- Alessandro Lanari: "Dedicated to Serving the Public"
- Lanari, Verdi, and Macbeth
- "For God's Sake, We've Already Rehearsed It a Hundred and Fifty Times!"
- Chapter 7. 1850-1900: Two Giants, a Devil, and a Gypsy
- The Growth of Music Publishing
- Grand Opera Houses and New Theater Technology
- A New Position: The Technical Director
- The Search for Quality: Richard Wagner and Giuseppe Verdi
- Wagner and Polemics of the Theater
- Staging an Opera from Afar: Lohengrin
- Wagner's Ideal Theatrical Space
- Wagner and the Bayreuth Festspielhaus
- The First Production in the Festspielhaus: Der Ring des Nibelungen
- Icons of Opera Production: Faust and Carmen
- Staging Act 1 of Carmen: The Habañera
- Verdi and the Fight for Artistic Integrity
- The Italian Stage Director and the disposizione scenica
- Verdi Stages Aida
- The Grand March: "The March Is Very, Very, Very Long. . . . But Don't Be Terrified"
- Chapter 8. 1900-1945: Clearing the Stage
- Theater Architecture and Technology
- The Visionary: Adolphe Appia and the Aesthetics of Stage Lighting
- Gustav Mahler at the Vienna Hofoper: "For God's Sake, Why Haven't the Sets Crashed?"
- Mahler and the "Old Order": The Struggle for Quality
- A New Iconoclasm: The Secession and the Theatrical Arts
- Mahler's Artistic Soul Mate: Alfred Roller and Tristan und Isolde
- Tristan und Isolde: Public Reaction
- A Break in the Scenic Traditions: Don Giovanni and the "Roller Towers"
- The Premiere and a Tumultuous Reception of Roller's Don Giovanni: "They Insult the Eyes"
- Giacomo Puccini: "Incidents Clear and Brilliant to the Eye Rather Than the Ear"
- The Russians Arrive in Paris: Sergei Diaghilev and Boris Godunov
- Fyodor Chaliapin: "He Communicates the Life of the Character He Portrays through Singing"
- Boris Godunov and Chaliapin's Techniques
- "Also Rosenkavalier! The Devil Take Him!"
- The Weimar Republic: A Volatile Mixture of Opera and Politics
- A New Style of Production: Die neue Sachlichkeit
- Wozzeck: The Staging of a Masterpiece
- The Final Iconoclasms before the Deluge
- "Kulturbolschevismus": The Krolloper
- Chapter 9. 1945-1976: Postwar Revolution
- Postwar Reconstruction and Politics in Opera Production
- New Figures of Influence: The Technical Consultant and the Lighting Designer
- The Return of the Festivals: Salzburg and Bayreuth
- The Stage Director as a New Star: Innovation or Detriment?
- Operatic Acting: Maria Callas
- Walter Felsenstein and the Komische Oper
- Werkstatt Bayreuth and the Richard Wagner Festival
- The 1970s: The Advent of Regietheater
- Epilogue: Whither the Future?
- Supertitles: A Better Understanding
- New Ideas, New Challenges: Innovative Regietheater, or Eurotrash?
- Whither the Future?
- Bibliography
- Index