BEYOND THE LIBRETTO: HOW THE COMPOSER GUIDES THE CREATION OF CHARACTER THREE CASE STUDIES

When performing in opera, a singer portrays a character. A libretto is used as the principal resource for the research. Music can also reveal insights into the composer’s ideas regarding characterization. This performance dissertation examines how musical devices such as genre, texture, meter, melody, instrumentation and form can be used to inform choices of characterization. Three roles from diverse operas were examined and performed. The first role, Estelle Oglethorpe in Later the Same Evening (2007) by John Musto (b 1954) was performed November 15, 16, 17, 18 2007. The second role, Dorabella in Così fan tutte (1789) by Wolfgang Amadeus Mozart (1756-1791) was performed April 20, 25, 27, 2008. The third role, Olga in Eugene Onegin (1878) by Pyotr Ilyich Tchaikovsky (1840-1893) was performed on April 19, 2009. All operas were presented by the University of Maryland Opera Studio at the Ina and Jack Kay Theater in the Clarice Smith Performing Arts Center, University of Maryland College Park. DVD recordings of all performances can be found in the University of Maryland library system.

Dvořák, his Librettists, and the Working Libretto for ‘Armida’

From the late 1860s, opera for Dvorák, along with many composers of the Czech national revival, was an abiding preoccupation. This article examines Dvorak’s relationship with his librettists, his approach to their texts, and the extent to which he was prepared to mould their content. While there is no surviving correspondence between Dvorák and the librettist of his last opera, Jaroslav Vrchlický, a copy of the libretto of Armida with annotations in both Vrchlický’s and Dvorák’s hands was found in 2007 among the writer’s papers. Although Dvorák’s stage sense has often been called into question, it is clear that his interventions in the libretto of Armida, in the first and last acts in particular, show a practical, theatrical approach that did much to enhance the dramatic impact of Armida’s first entry and the final chorus of the opera.

Aida opera in four acts by G. Verdi; libretto by A. Ghislanzoni

UANL

Don Giovanni an opera in two acts libretto by Lorenzo da Ponte; music by Wolfgang Amadeus Mozart

UANL

Lindy (Opera libretto)

Lindy is an opera in two acts by Australian composer Moya Henderson to an English libretto by Judith Rodriguez. It premiered on 25 October 2002 at the Sydney Opera House. The plot is based on the disappearance of Lindy and Michael Chamberlain's baby Azaria in the Australian outback at Uluru in 1980. The opera lasts for about 1 hour and 35 minutes.

Die beyden Genies : ein Original-Lustspiel in fünf Aufzügen ; für das Hochfürstlich Esterhazysche Theater geschrieben ... ; die Musik hiezu ist vom Concertmeister Hummel [Libretto]

von Georg von Gaal

Una vendetta ossia La sposa di Murcia : [Texto impreso] libretto in tre atti

Escrita expresamente para ser representada en el Teatro Principal de Valencia

La forza del destino : libretto in quattro atti /

Mode of access: Internet.

Satan: a libretto.

"I call this poem a libretto, because ... the verses may suggest or accompany ... music."--Pref.

Lettera di Farinello Semoli [pseud.] nella quale si esamina il libretto dell cav. V. Monti intitolato Saggio dei errori trascorsi in tutte l'edizioni del Convito di Dante.

Mode of access: Internet.

Romeo and Juliet; a tragic opera in 5 acts: libretto, Italian and English words.

Cover title.