OPERA PERFORMANCE

Musical operas have existed for many years more than one would imagine. Its development was neither spontaneous it is dated to have begun back in the 16th century where it developed gradually until it grew into what we have today.Theatre musical performances have therefore been a form of entertainment and cultural preservation for decades.

Hall-Swadley, Janita R. The Collected Writings of Franz Liszt: Essays and Letters of a Traveling Bachelor of Music. Vol. 2. Scarecrow Press, 2012.

One can be multi-talented in the musical industry.

Franz Liszt although was iconic when it came to playing piano, he was also a song composer, conductor, and an encourager to his team. Liszt is also known for the contribution and transformations of arts industry including the invention of symphonic poems currently known as tone poems.His dedication and talent is an indication that nothing or no one is static. One can play multiple roles and develop new ideas whenever necessary theatrics.

Johns, Keith T. The symphonic poems of Franz Liszt. No. 3. Pendragon Press, 1997.

Liszt wrote thirteen symphonic poems which had a significant impact on composers. In the book, each poem is discussed based on its melodic organization and how it was received and criticized by German people.Keiths detailed study is based on this musical art and the role it played in the contemporary society. Critics form part of our lives, and should not hold us back from archiving our objectives.

Simon, Henry W. 100 Great Operas and Their Stories: Act-by-Act Synopses. Anchor, 2010.

The book contains an alley of worlds great operas of all times. It gives an insight into ancient operas performed in the 17th century as well as those of date. Henry discusses the unique aspect of every opera, its main characters, its plots and its accompanied song. A good opera should typically possess and qualify all the above aspects among others.

Levine, Robert. Weep, Shudder, Die: A Guide to Loving Opera. Harper Collins, 2011.

The book postulates that a good opera should and must make one shed tears, shake and die. Claudio Monteverdi is a character in the book, and his role in operas was a composers composer. His role was considered as less important in earlier days than it is today. Their roles were to introduce emotions in music and consequently make people weep, shake and die. Pseudo artists in operas are hence as important as the main performers.

Bulfinch, Thomas. Bulfinch's Mythology: The Age of Fable. Simon and Schuster, 2014.

The book illustrates the most loved tales in the world in a way that todays readers can understand. Giovanni does this by providing original artwork in his stories to enhance readers understanding. Similarly, opera performers should select their ideas, costumes, and other artifacts when performing to deliver the intended message or accomplish the theme of their performance be it educating or entertaining.

Russell, William F. Classic Myths to Read Aloud: The Great Stories of Greek and Roman Mythology, Specially Arranged for Children Five and Up by an Educational Expert.Broadway Books, 1992.

The books primary objective is to teach children between the ages of five to twelve how to read and understand. Its aim is in line with that of most operas. However, the book lack images whereas we know, figures, images, and graphics help one to remember a concept well. Use of figurative language and other innovative skills and techniques in performing arts is paramount.

Burden, Michael, ed. performing the music of Henry Purcell. Oxford University Press on Demand, 1996.

Burden Michael studied the historical performances, for instance, the trumpet notes on Marys funeral and another one concerning parcels stage singers. He analyzed, raised and criticised what he thought was not right in those performances. Analyzing such performances is very crucial as it helps us better our future performance.

Frith, Simon. Performing rites: On the value of popular music. Harvard University Press, 1998.

Frith emphasizes on the analysis and evaluation of all popular songs performed in our theatres. He stresses that listening to a piece of music is same as performing it as it involves body responses. Songs, therefore, has the ability to manipulate our judgment and behaviors and therefore, only ethical operas should be conducted or listened to.

Poriss, Hilary. Changing the score: arias, prima donnas, and the authority of performance. Oxford University Press, 2009.

Aria insertion is a method which allowed singers to introduce the music of their choosing into the Italian operas. The book investigates the significance of this inclusion. It is indicated that singers incorporated arias to expose their vocal strengths in an opera. This strategy was also used in some occasions to attract a large audience in the performance. Performers of the present also need to develop such strategies to boost the growth of the industry.

Bibliography

Bulfinch, Thomas. Bulfinch's Mythology: The Age of Fable. Simon and Schuster, 2014.

Burden, Michael, ed. performing the music of Henry Purcell. Oxford University Press on Demand, 1996.

Frith, Simon. Performing rites: On the value of popular music. Harvard University Press, 1998.

Hall-Swadley, Janita R. The Collected Writings of Franz Liszt: Essays and Letters of a Traveling Bachelor of Music. Vol. 2. Scarecrow Press, 2012.

Johns, Keith T. The symphonic poems of Franz Liszt. No. 3. Pendragon Press, 1997.

Levine, Robert. Weep, Shudder, Die: A Guide to Loving Opera. Harper Collins, 2011.Magazine, Limelight. "Oct. 2012." (19).

Poriss, Hilary. Changing the score: arias, prima donnas, and the authority of performance. Oxford University Press, 2009.

Russell, William F. Classic Myths to Read Aloud: The Great Stories of Greek and Roman Mythology, Specially Arranged for Children Five and Up by an Educational Expert. Broadway Books, 1992.

Simon, Henry W. 100 Great Operas and Their Stories: Act-by-Act Synopses. Anchor, 2010.

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