Download e-book for kindle: Callas at Juilliard: The Master Classes (Amadeus) by John Ardoin

By John Ardoin

ISBN-10: 1574670425

ISBN-13: 9781574670424

Maria Callas again to the level in 1971 to educate grasp periods at Juilliard. This exciting 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 finds herself to be no longer the imperious diva of her attractiveness, yet a supremely self-aware artist keen on passing alongside a superb musical culture.

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The Plays
ALL 38 PLAYS

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The Sources
LIST OF THE PLAYS’ SOURCES

The Apocryphal Plays
THE beginning OF MERLIN
VORTIGERN AND ROWENA and lots of more!

The Adaptations
TALES FROM SHAKESPEARE by means of CHARLES AND MARY LAMB

The Poetry
THE SONNETS
VENUS AND ADONIS and more

The Apocryphal Poetry
TO THE QUEEN and more!

The Criticism
PREFACE TO SHAKESPEARE AND NOTES ON PLAY by way of SAMUEL JOHNSON
ON SHAKESPEARE through LEO TOLSTOY
EXTRACTS FROM WILLIAM SHAKESPEARE by means of VICTOR HUGO
SHAKESPEARE'S perspective towards THE operating periods by way of ERNEST CROSBY
A LETTER via GEORGE BERNARD SHAW
and many more!

The Biographies
SOME ACCOUNT OF THE lifetime of MR. WILLIAM SHAKESPEAR by means of NICHOLAS ROWE
SHAKESPEARE: HIS existence, paintings, AND CHARACTERS via HENRY NORMAN HUDSON
LIFE OF WILLIAM SHAKESPEARE through SIR SIDNEY LEE
SHAKESPEARE'S misplaced YEARS IN LONDON by means of ARTHUR ACHESON
THE humans FOR WHOM SHAKESPEARE WROTE through CHARLES DUDLEY WARNER

Shakespeare’s final Will and Testament

Glossary of Elizabethan Language

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Additional resources for Callas at Juilliard: The Master Classes (Amadeus)

Sample text

Think quickly here, and again watch carefully the differences between half and whole steps. "While we must always strive to perform like an instrumentalist, the voice is not an instrument and gets tired. Therefore, in order to save it, we often have to practice mentally. For example, these triplets could be studied while sitting quietly in your room. 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.

If you have a doubt as to where to begin a trill, it is on the note written. If the composer wants the trill to begin from above, he will give you an appoggiatura to the main note. Always presume, as well, it is a whole-tone trill unless the composer specifically indicates a half-tone. Remember, too, a trill is always written for an expressive reason. For example, the trills in 'D'amor sull'ali rosee' from the last act of Trovatore represent fear. In this Così aria, the trill reinforces the strength of Fiordiligi's love.

It should be 'Ah! PER-fi-do, sper-GIU-ro''perfidious one, false one': "Tie the words closely to the notes with a well-supported sound. This scene is written in so many sections that unless you keep it moving ahead steadily with a good legato, it will fall apart. ]: "Begin this phrase after the orchestral chord. In fact, think of the andante which follows as coming a measure earlier. This will open the phrase up, give it a feeling of relaxation and emphasize the change of mood. ' Both must be kept moving once you have begun them, and both must be sung with authority even though they are piano.

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


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