Bel canto : a performer's guide /
The art of bel canto, or 'beautiful singing, ' is perhaps the most referenced and yet the most enigmatic and elusive style in the repertoire of the classically trained singer. During the bel canto era of the late 18th and early 19th centuries, composers routinely left the final shaping of...
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| Main Author: | |
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| Format: | Electronic eBook |
| Language: | English |
| Published: |
New York :
Oxford University Press,
[2013]
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| Subjects: | |
| Online Access: | CONNECT |
MARC
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| 100 | 1 | |a Toft, Robert. | |
| 245 | 1 | 0 | |a Bel canto : |b a performer's guide / |c Robert Toft. |
| 264 | 1 | |a New York : |b Oxford University Press, |c [2013] | |
| 264 | 4 | |c ©2013 | |
| 300 | |a 1 online resource (viii, 263 pages) : |b illustrations, music | ||
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| 504 | |a Includes bibliographical references (pages 253-258) and index. | ||
| 505 | 0 | |a Part one: the principles of Bel canto -- Introduction -- Phrasing -- Altering rhythm and tempo -- Tonal contrast, register, and vibrato -- Ornamentation -- Dramatic action -- Part two: Bel canto in practice -- Handel, "Armida dispietata/Lascia ch'io pianga" (Rinaldo, 1711/1731) -- Handel, "O worse than death indeed/angels ever bright and fair" (Theodora, 1750) -- Gluck, " Sposa Euridice/che faro senza Euridice" (Orfeo ed Euridice, 1762) -- Sarti, "Lungi dal caro bene" (Giulio Sabino, 1781) -- Mozart, "Voi che sapete" (le nozze di Figaro, 1786) -- Mozart (arr. Bishop), " Love! Ever leave me" (the marriage of Figaro, 1819). | |
| 588 | 0 | |a Print version record. | |
| 520 | 8 | |a The art of bel canto, or 'beautiful singing, ' is perhaps the most referenced and yet the most enigmatic and elusive style in the repertoire of the classically trained singer. During the bel canto era of the late 18th and early 19th centuries, composers routinely left the final shaping of recitatives, arias, and songs to performers. |b The art of bel canto, or 'beautiful singing, ' is perhaps the most referenced and yet the most enigmatic and elusive style in the repertoire of the classically trained singer. During the bel canto era of the late eighteenth and early nineteenth centuries, composers routinely left the final shaping of recitatives, arias, and songs to performers. Vocalists in turn treated scores as a starting point for interpretation and personalized the music as their own, rather than merely givingvoice to the score as written, transforming otherwise inexpressively notated music into passionate declamation. In other words, singers saw their role more as one of re-creation than of simple interpretation. Familiarity with the range of strategies prominent vocalists of the past employed to unlockthe eloquent expression hidden in scores enables modern singers to take a similar re-creative approach to enhancing the texts before them. In this first ever guide to the bel canto style, author Robert Toft provides singers with the tools they need to bring scores to life in an historically informed manner. Replete with illustrations based on excerpts from Italianate recitatives and arias by composers ranging from Handel to Mozart, each chapter offers a theoretical discussion of one fundamental aspect of bel canto, followed by a practical application of the principals involved. Drawing on a wealth of documents surviving the era, including treatises, scores, newspaper reviews, and letters, this book reflects the breadth of practices utilized by singers of the bel canto era, affording modern day vocalists the opportunity to not only how singers altered and embellished the texts before them, but also to develop their ownpersonal style of doing so. Complete with six complete aria scores for performers to personalize through bel canto techniques, and a companion website offering demonstrations of the principles explained, Bel Canto is an essential resource to any singer or vocal instructor looking to explore and master this repertoire. | |
| 546 | |a English. | ||
| 500 | |a EBSCO eBook Academic Comprehensive Collection North America |5 TMurS | ||
| 650 | 0 | |a Bel canto. | |
| 650 | 0 | |a Singing |x Methods. | |
| 650 | 0 | |a Music |x Interpretation (Phrasing, dynamics, etc.) | |
| 650 | 0 | |a Embellishment (Music) | |
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| 730 | 0 | |a WORLDSHARE SUB RECORDS | |
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