Download PDF by John Ardoin: Callas at Juilliard: The Master Classes (Amadeus)

By John Ardoin

ISBN-10: 1574670425

ISBN-13: 9781574670424

Maria Callas again to the degree in 1971 to educate grasp sessions at Juilliard. This interesting discussion board later encouraged Terrence McNally's acclaimed play grasp category. Outspoken and uncompromising in her inventive ideals, Callas labored via her mythical arias from Mozart, Verdi, Rossini, Puccini, and others. John Ardoin brilliantly captures the insights of a considerate singer who unearths herself to be now not the imperious diva of her attractiveness, yet a supremely self-aware artist involved in passing alongside an exceptional musical culture.

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Extra info for Callas at Juilliard: The Master Classes (Amadeus)

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Also, do not scoop on 'crudel'; you'll kill yourself: "Twice Medea sings 'scacciata, dolorosa' [driven out, sad]. Here, as in 'torna a me,' you can make the drama work for you. The first phrase, 'scacciata,' must be accented and hard, but 'dolorosa' can be softer, more espressivo. ' Keep it clean. wait and breathe well before beginning 'Io non voglio': "In some performances of Medea you will find the repeat of 'non voglio che te solo' omittedabout a measure of music. Why, I do not know. < previous page page_41 next page > < previous page page_42 next page > Page 42 I have sung it both ways.

Vowels must always dominate your diction, even in German; the purer the vowel, the more supported the rest of the voice remains. I am afraid German is sung much too harshly today. Of course, we want clear diction; we must have it. But it must not be overdone. Often phrases sag because time has been wasted attempting to attack a German word and to put an ending on it. Be easy with accents in German; make them with tone and not breath. "Also, treat ornaments in Mozart as you would those in Bellinion the beat, well oiled and directly stated: and "The opening of the allegro < previous page page_22 next page > < previous page page_23 next page > Page 23 must also have authority, but you do not need to push your voice to achieve this.

Go over and over them with your mind. Think the notes, but do no more than hum them. Eventually, you will have them in your head and know where you are going without unduly using your voice. < previous page page_25 next page > < previous page page_26 next page > Page 26 "I don't know if a conductor would permit it or not, but I would make an accelerando towards the end of the next set of staccati; it makes a more dramatic effect and enables you to sing all four measures in a single breath: "Again, sing with good strength and support the phrase after the staccati: Make the final note before the fermata short for dramatic impact: "With the final notes be very aware of what you are saying: 'Listen, listen, gods of vengeance,' and really let your voice out.

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Callas at Juilliard: The Master Classes (Amadeus) by John Ardoin


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