Course Content (Syllabus)
The course aims at the analytical approach of pieces of the music theater that constitute representative samples of the music dramaturgy of the 20th century. The aim of the course is to provide a historical overview of the opera and the music theater of the 20th century that is characterised by a variety of tendencies, genres and Schools. It also provides the tools for the analytical approaches of the pieces (analysis of the structure of the libretto and analytical and stylistic approach of the pieces).
Wozzeck and Lulu by Alban Berg, Die Bassariden by Hans Werner Henze, Antigonae and Prometheus by Carl Orff, Le Grand Macabre by György Ligeti, Oedipus by Wolfgang Rihm, Die Bakchen, Lysistrata and Ho Gyrismos by Argyris Kounadis, Troades and Medea by Aribert Reimann are some indicative pieces under study, among others.
The course includes monitoring of representative performances of the pieces by significant directors of the music theater of the 20th century: Friedrich Götz, Günther Rennert and Walter Felsenstein, Jean-Pierre Ponnelle, but also contemporary directors: Harry Alfred Robert Kupfer, Dieter Dorn, Peter Stein, Siegfried Schoenbohm, Patrice Chéreau, Peter Konwitschny, Luc Bondy, Willy Decker, Andrea Breth, Sir Nicholas Robert Hytner, Alex Ollé, Christof Loy and Yuval Sharon.
Moreover, the course aims at the understanding of the parameters of the basic methods of vocal education and offers the possibility of practical application through the performance of repertoire.
In every session, special focus will be given in the extended techniques of the vocal part in the selected pieces of music theater of the 20th century, the performance of which is characterised by a variety of sound and speech production like: Sprechgesang, falsetto, production of pitches while inhaling, overtone singing, screaming, among others.
The course is addressed to students of musicology, opera singers, choroists, composers and students interested in the forms and dramaturgy of music theater of the 20th century and students interested in the understanding of the parameters of the basic methods of vocal education through the performance of repertoire. The course is also addressed to pianists interested in the accompaniment of singers (Korrepetition).
Additional bibliography for study
i. Balme, C. (2008). The Cambridge introduction to theatre studies. Cambridge University Press.
Dahlhaus, C. (1983). Vom Musikdrama zur Literaturoper: Aufsätze zur neueren Operngeschichte. München und Salzburg: Musikverlag Katzbichler.
Dahlhaus, C. (1989). What is a Musical Drama?. Cambridge Opera Journal, 1 (2), 95‐111 (μετάφραση Whittall, M.).
Greenwald. H. M. (Εd.) (2014). The Oxford Handbook of Opera. Oxford, New York: Oxford University Press.
Lindenberger, H. (1998). Opera in History from Monteverdi to Cage. Stanford Univ. Press.
Pfister, M. (2000). The Theory and Analysis of Drama. Cambridge: Cambridge University Press (μετάφραση Halliday, J. από το γερμανικό πρωτότυπο Pfister, M. (1977). Das Drama. München: Fink).
ii. Cambridge Opera Handbooks, Cambridge University Press.
Εκδόσεις του Μεγάρου Μουσικής Αθηνών.
Grove Music Online, Oxford Music Online.
Sadie, S. (Ed.) (1992). The New Grove Dictionary of Opera. New York: Grove's Dictionaries of Music.
The book of 101 opera librettos: complete original language texts with English translations, New York: Black Dog & Leventhal Publishers, 1996.