Synopses & Reviews
Without scenery, costumes, and stage action, an opera would be little more than a concert. But in the audience, we know little (and think less) about the enormous efforts of those involved in bringing an opera to lifeandmdash;by the stagehands who shift scenery, the scenic artists who create beautiful backdrops, the electricians who focus the spotlights, and the stage manager who calls them and the singers to their places during the performance. The first comprehensive history of the behind-the-scenes world of opera production and staging, From the Score to the Stage follows the evolution of visual style and set design in continental Europe from its birth in the seventeenth century up to today.and#160;In clear, witty prose, Evan Baker covers all the major players and pieces involved in getting an opera onto the stage, from the stage director who creates the artistic concept for the production and guides the singersandrsquo; interpretation of their roles to the blocking of singers and placement of scenery. He concentrates on the peopleandmdash;composers, librettists, designers, and techniciansandmdash;as well as the theaters and events that generated developments in opera production. Additional topics include the many difficulties in performing an opera, the functions of impresarios, and the business of music publishing. Delving into the absorbing and often neglected history of stage directing, theater architecture and technology, and scenic and lighting design, Baker nimbly links these technical aspects of opera to actual performances and performers, and the social context in which they appeared. Out of these details arise illuminating discussions of individual productions that cast new light on the operas of Wagner, Verdi, and others.and#160;Packed with nearly two hundred color illustrations, From the Score to the Stage is a revealing, always entertaining look at what happens before the curtain goes up on opening night at the opera house.
Review
and#8220;Numerous books dedicated to different opera-related topics are published each year. This work by Evan Baker, however, fills a gap by covering the history of scenic interpretation. How did the very idea of staged productions appear in the first place, and how did it develop; what was the evolution of lyric imagery, stagings, and costumes; in what ways have operas been put on, and how have they been perceived by spectators; what has been the role of great personalities such as Jacques Salomand#233;, Alfred Roller, Adolphe Appia, Wieland Wagner, Walter Felsenstein, or Patrice Chand#233;reau; and what is the meaning of Regietheater? These are just some of the questions that this absorbingly written and extremely well-illustrated book tries to answer.and#8221;
Review
andldquo;I took deep enjoyment and enrichment from Evan Bakerandrsquo;s rigorous and intensive history of opera production. This important view of what we do every day in the serious work of our companies is often lost in a haze of trifle about diva fits, egos, and other dull social clichandeacute;s about the arts. I admire how aligned this book is with what is lasting and true about these great works we are so privileged to perform: their lasting ability to be interpreted, reinterpreted, and loved.andrdquo;and#160;
Review
and#160;andldquo;Evan Baker retells the history of opera from a most unusual angleandmdash;not, like earlier histories, from the point of view of the music or the libretto, but rather as the evolving story of how operas have been staged from the formandrsquo;s beginnings to the current vogue of Regieoper. This new history is also the story of how new technologiesandmdash;for example, the introduction of gaslight and, soon after, of electricityandmdash;enabled new ways of creating theatrical illusion. Presenting his considerable learning in a thoroughly readable style, Baker has shaped a book that will appeal to scholars and opera fans alike.andrdquo;
Review
andldquo;There can be few people in the world capable of writing a book such as the present one, which deals with the staging of opera from its beginnings until the present day. Not only must one know the repertory well, but even more one needs to understand from a personal perspective, as well as from a historical one, the extraordinary work of so manyand#160;persons involved backstage in making an operatic spectacle function. For the history of directing, stagecraft, and lighting in particular, Baker is superb. He understands the profound changes that have accompanied operatic spectacles in modern times as nonmusical influences have been increasingly felt, and treats them sympathetically, although not unreservedly so. For anyone wishing to learn more about how operas function onstage, there is no better place to start than with Evan Baker's book.andrdquo;
Review
and#8220;Baker covers all the major players and pieces involved in getting an opera onto the stage, from the stage director who creates the artistic concept for the production and guides the singersand#8217; interpretation of their roles to the blocking of singers and placement of scenery.andnbsp; . . . Out of these details arise illuminating discussions of individual productions that cast new light on the operas of Wager, Verdi, and others.and#8221;
Review
and#8220;To write the history of opera production, not only must one know the repertory well, but one needs to understand the extraordinary work of the many people involved backstage who make an operatic spectacle function. Few people are as capable of writing such a history as Evan Baker, who has worked as a dramaturge and stage director for decades. Baker understands the changes that have accompanied operatic spectacles in modern times, as nonmusical influences have become an increasingly prominent aspect of the performance. In his new book, From the Score to the Stage, he follows these changes from the seventeenth century to the present. For the history of directing, stagecraft, and lighting in particular, Baker is superb.and#8221;
Review
and#8220;Anyone associated with the production and planning of opera, not to mention also audiences and students of theater and cinema, will want to own
From the Score to the Stage, which, for its comprehensive scope and sheer panache, has no competitor. Whether read cover to cover or used as an easy-to-navigate reference on particular topics, it is the indispensable single-source guide to the opera stage.and#8221;
Review
and#8220;The illustrations are fascinating and occasionally quite humorous. . . . Bakerand#8217;s accompanying text, which is never pedantic, will be enjoyable for both opera scholars and neophytes seeking more background on the genre. As a general overview of Continental opera stage production, this unequaled volume will be an important addition to any opera library. . . . Essential.and#8221;
Review
and#8220;
From the Score to the Stage is the best study of its kind: scholarly, entertaining, and comprehensive in its grasp of this wonderful subject. . . . The book is a trove of insight for lovers of staged opera, and a mainstay of the library of any serious student of musical theatre as actually practiced.and#8221;
Review
and#8220;Gives fascinating yet profound insights behind the scenes of opera production and staging from the 17th century up to today."
Review
andldquo;Fascinating. . . . To be sure, much of the operatic past is irrevocably lost. But
From the Score to the Stage brings so much of it to life that an opera-lover can only be grateful.andrdquo;
About the Author
Evan Baker is an independent scholar based in Los Angeles. He has worked as both a dramaturge and a stage director and lectures frequently to opera audiences.
Table of Contents
List of Illustrationsand#160;and#160;Prefaceand#160;and#160;
Acknowledgmentsand#160;and#160;
Overtureand#160;and#160; Chapter One / 1637and#8211;1700: The Beginningsand#160;and#160;
and#160;and#160;and#160;and#160; Competition among Theatersand#160;and#160;
and#160;and#160;and#160;and#160; The First Public Opera House and Andromedaand#160;and#160;
and#160;and#160;and#160;and#160; An Early Theater Technicianand#8217;s Handbookand#160;and#160;
and#160;and#160;and#160;and#160; A Revolution in Opera Production: Giacomo Torelli, grand sorcierand#160;and#160;
and#160;and#160;and#160;and#160; A Treatise on Stage Machineryand#160;and#160;
and#160;and#160;and#160;and#160; The Opera Impresario: Marco Faustini and Theatrical Competitionand#160;and#160;
and#160;and#160;and#160;and#160; German Landsand#160;and#160;
and#160;and#160;and#160;and#160; Lodovico Burnacini: Il Pomo dand#8217;oroand#160;and#160;
and#160;and#160;and#160;and#160; France: Jean-Baptiste Lully and the Establishment of the Acadand#233;mie royale de musiqueand#160;and#160;Chapter Two / 1700and#8211;1750: Perspectives with a New Viewand#160;and#160;
and#160;and#160;and#160;and#160; Opera seria: Its Rules and Reformsand#160;and#160;
and#160;and#160;and#160;and#160; Pietro Metastasio, Librettist and Stage Directorand#160;and#160;
and#160;and#160;and#160;and#160; New Theaters and Audiencesand#160;and#160;
and#160;and#160;and#160;and#160; Stage Design and Production Practices before Galli-Bibienaand#160;and#160;
and#160;and#160;and#160;and#160; The Vanishing Pointand#160;and#160;
and#160;and#160;and#160;and#160; Ferdinando Galli-Bibiena, the and#8220;Paul Veronese of the Theaterand#8221;and#160;and#160;
and#160;and#160;and#160;and#160; A New Method of and#8220;Viewing Theatrical Scenes at an Angleand#8221;and#160;and#160;
and#160;and#160;and#160;and#160; The Spectacle Builds: Jean-Philippe Rameau, Giovanni Niccoland#242; Servandoni, and the Paris Opand#233;ra
and#160;and#160;and#160;and#160; Lighting the Stage
and#160;and#160;and#160;and#160; Gestures and Acting
and#160;and#160;and#160;and#160; Directing the SingersChapter Three / 1750and#8211;1800: Theater for the Greater Publicand#160;and#160;
and#160;and#160;and#160;and#160; The Great Reform Operas of Christoph Willibald von Gluck: Orfeo ed Euridice and Alcesteand#160;and#160;
and#160;and#160;and#160;and#160; Directing and Rehearsing the Operaand#160;and#160;
and#160;and#160;and#160;and#160; Idomeneo, re di Cretaand#160;and#160;
and#160;and#160;and#160;and#160; Onstage Movementsand#160;and#160;
and#160;and#160;and#160;and#160; Spectacle and New Technologyand#160;and#160;
and#160;and#160;and#160;and#160; Stage Lightingand#160;and#160;
and#160;and#160;and#160;and#160; Revolutionary New Lightand#160;and#160;
and#160;and#160;and#160;and#160; National Theater in Vienna: The Burgtheaterand#160;and#160;
and#160;and#160;and#160;and#160; Private, For-Profit Theaters in Suburban Vienna: The and#8220;Freihausand#8221; Theaterand#160;and#160;Chapter Four / 1800and#8211;1850: Romanticism in Germanyand#160;and#160;
and#160;and#160;and#160;and#160; German Romanticismand#160;and#160;
and#160;and#160;and#160;and#160; German Theaters: Construction, Personnel, and Production Stylesand#160;and#160;
and#160;and#160;and#160;and#160; Performance Conditionsand#160;and#160;
and#160;and#160;and#160;and#160; Count Karl von Brand#252;hl and Karl Friedrich Schinkel: and#8220;Make This the Best Theater in Germany!and#8221;and#160;and#160;
and#160;and#160;and#160;and#160; Brand#252;hland#8217;s Designer: Schinkel and Die Zauberfland#246;teand#160;and#160;
and#160;and#160;and#160;and#160; Publication of German Stage Designsand#160;and#160;
and#160;and#160;and#160;and#160; Schinkeland#8217;s New Theater: A Lost Opportunityand#160;and#160;
and#160;and#160;and#160;and#160; Carl Maria von Weber: and#8220;I Wonand#8217;t Stand for That Schnickschnack!and#8221;and#160;and#160;
and#160;and#160;and#160;and#160; The Greatest Romantic Opera: Der Freischand#252;tzand#160;and#160;
and#160;and#160;and#160;and#160; Continuing the Change in Theater Architecture: Gottfried Semper and the Dresden Opera Houseand#160;and#160;
Chapter Five / 1800and#8211;1850: French Grand Operaand#160;and#160;
and#160;and#160;and#160;and#160; Land#8217;and#233;tat, Cand#8217;est Grand Opand#233;raand#160;and#160;
and#160;and#160;and#160;and#160; The Temple of French Grand Operaand#160;and#160;
and#160;and#160;and#160;and#160; and#8220;Coup de Thand#233;and#226;treand#8221;: The Boulevard Theaters and Popular Entertainments Challenge the Opand#233;raand#160;and#160;
and#160;and#160;and#160;and#160; Aladin, ou la Lampe merveilleuse: The Opand#233;ra and New Technologyand#160;and#160;
and#160;and#160;and#160;and#160; The First True Opera Stage Director: Jacques Solomand#233;and#160;and#160;
and#160;and#160;and#160;and#160; The livret de mise-en-scand#232;neand#160;and#160;
and#160;and#160;and#160;and#160; A Volcanic Explosion: La Muette de Porticiand#160;and#160;
and#160;and#160;and#160;and#160; The Middle-Class Ascendant at the Opand#233;raand#160;and#160;
and#160;and#160;and#160;and#160; The Claque
and#160;and#160;and#160;and#160; Romanticism, Robert le Diable, and Grand Opera: and#8220;These Are Impossible Things; One Has to See It to Believe It. Itand#8217;s Prodigious! Itand#8217;s Prodigious!and#8221;and#160;and#160;
and#160;and#160;and#160;and#160; and#8220;Nonnes, Mand#8217;entendez-Vous?and#8221; / and#8220;Nuns, Do You Hear Me?and#8221;and#160;and#160;
and#160;and#160;and#160;and#160; The Phenomenon of Robert le Diableand#160;and#160;Chapter Six / 1800and#8211;1850: Italyand#160;and#160;
and#160;and#160;and#160;and#160; The Italian Operagoing Publicand#160;and#160;
and#160;and#160;and#160;and#160; The Opera House: Center of the Communityand#160;and#160;
and#160;and#160;and#160;and#160; Music Publishing in Italyand#160;and#160;
and#160;and#160;and#160;and#160; The Evolution of the Italian Stage Directorand#160;and#160;
and#160;and#160;and#160;and#160; Stage Design and Theater Architecture: Polemics and Theoryand#160;and#160;
and#160;and#160;and#160;and#160; Alessandro Sanquiricoand#160;and#160;
and#160;and#160;and#160;and#160; The Impresarios: and#8220;This Infamous Professionand#8221;and#160;and#160;
and#160;and#160;and#160;and#160; Domenico Barbaja: and#8220;The Prince of Impresariosand#8221;and#160;and#160;
and#160;and#160;and#160;and#160; Bartolomeo Merelli: The and#8220;Napoleonand#8221; of Impresariosand#160;and#160;
and#160;and#160;and#160;and#160; Alessandro Lanari: and#8220;Dedicated to Serving the Publicand#8221;and#160;and#160;
and#160;and#160;and#160;and#160; Lanari, Verdi, and Macbethand#160;and#160;
and#160;and#160;and#160;and#160; and#8220;For Godand#8217;s Sake, Weand#8217;ve Already Rehearsed It a Hundred and Fifty Times!and#8221;and#160;and#160;Chapter Seven / 1850and#8211;1900: Two Giants, a Devil, and a Gypsyand#160;and#160;
and#160;and#160;and#160;and#160; The Growth of Music Publishingand#160;and#160;
and#160;and#160;and#160;and#160; Grand Opera Houses and New Theater Technologyand#160;and#160;
and#160;and#160;and#160;and#160; A New Position: The Technical Directorand#160;and#160;
and#160;and#160;and#160;and#160; The Search for Quality: Richard Wagner and Giuseppe Verdiand#160;and#160;
and#160;and#160;and#160;and#160; Wagner and Polemics of the Theaterand#160;and#160;
and#160;and#160;and#160;and#160; Staging an Opera from Afar: Lohengrinand#160;and#160;
and#160;and#160;and#160;and#160; Wagnerand#8217;s Ideal Theatrical Spaceand#160;and#160;
and#160;and#160;and#160;and#160; Wagner and the Bayreuth Festspielhausand#160;and#160;
and#160;and#160;and#160;and#160; The First Production in the Festspielhaus: Der Ring des Nibelungenand#160;and#160;
and#160;and#160;and#160;and#160; Icons of Opera Production: Faust and Carmenand#160;and#160;
and#160;and#160;and#160;and#160; Staging Act 1 of Carmen: The Habaand#241;eraand#160;and#160;
and#160;and#160;and#160;and#160; Verdi and the Fight for Artistic Integrityand#160;and#160;
and#160;and#160;and#160;and#160; The Italian Stage Director and the disposizione scenicaand#160;and#160;
and#160;and#160;and#160;and#160; Verdi Stages Aidaand#160;and#160;
and#160;and#160;and#160;and#160; The Grand March: and#8220;The March Is Very, Very, Very Long. . . . But Donand#8217;t Be Terrifiedand#8221;and#160;and#160;Chapter Eight / 1900and#8211;1945: Clearing the Stageand#160;and#160;
and#160;and#160;and#160;and#160; Theater Architecture and Technologyand#160;and#160;
and#160;and#160;and#160;and#160; The Visionary: Adolphe Appia and the Aesthetics of Stage Lightingand#160;and#160;
and#160;and#160;and#160;and#160; Gustav Mahler at the Vienna Hofoper: and#8220;For Godand#8217;s Sake, Why Havenand#8217;t the Sets Crashed?and#8221;and#160;and#160;
and#160;and#160;and#160;and#160; Mahler and the and#8220;Old Orderand#8221;: The Struggle for Qualityand#160;and#160;
and#160;and#160;and#160;and#160; A New Iconoclasm: The Secession and the Theatrical Artsand#160;and#160;
and#160;and#160;and#160;and#160; Mahlerand#8217;s Artistic Soul Mate: Alfred Roller and Tristan und Isoldeand#160;and#160;
and#160;and#160;and#160;and#160; Tristan und Isolde: Public Reactionand#160;and#160;
and#160;and#160;and#160;and#160; A Break in the Scenic Traditions: Don Giovanni and the and#8220;Roller Towersand#8221;and#160;and#160;
and#160;and#160;and#160;and#160; The Premiere and a Tumultuous Reception of Rollerand#8217;s Don Giovanni: and#8220;They Insult the Eyesand#8221;and#160;and#160;
and#160;and#160;and#160;and#160; Giacomo Puccini: and#8220;Incidents Clear and Brilliant to the Eye Rather Than the Earand#8221;and#160;and#160;
and#160;and#160;and#160;and#160; The Russians Arrive in Paris: Sergei Diaghilev and Boris Godunovand#160;and#160;
and#160;and#160;and#160;and#160; Fyodor Chaliapin: and#8220;He Communicates the Life of the Character He Portrays through Singingand#8221;and#160;and#160;
and#160;and#160;and#160;and#160; Boris Godunov and Chaliapinand#8217;s Techniquesand#160;and#160;
and#160;and#160;and#160;and#160; and#8220;Also Rosenkavalier! The Devil Take Him!and#8221;and#160;and#160;
and#160;and#160;and#160;and#160; The Weimar Republic: A Volatile Mixture of Opera and Politicsand#160;and#160;
and#160;and#160;and#160;and#160; A New Style of Production: Die neue Sachlichkeitand#160;and#160;
and#160;and#160;and#160;and#160; Wozzeck: The Staging of a Masterpieceand#160;and#160;
and#160;and#160;and#160;and#160; The Final Iconoclasms before the Delugeand#160;and#160;
and#160;and#160;and#160;and#160; and#8220;Kulturbolschevismusand#8221;: The Krolloperand#160;and#160;Chapter Nine / 1945and#8211;1976: Postwar Revolutionand#160;and#160;
and#160;and#160;and#160;and#160; Postwar Reconstruction and Politics in Opera Productionand#160;and#160;
and#160;and#160;and#160;and#160; New Figures of Influence: The Technical Consultant and the Lighting Designerand#160;and#160;
and#160;and#160;and#160;and#160; The Return of the Festivals: Salzburg and Bayreuthand#160;and#160;
and#160;and#160;and#160;and#160; The Stage Director as a New Star: Innovation or Detriment?and#160;and#160;
and#160;and#160;and#160;and#160; Operatic Acting: Maria Callasand#160;and#160;
and#160;and#160;and#160;and#160; Walter Felsenstein and the Komische Operand#160;and#160;
and#160;and#160;and#160;and#160; Werkstatt Bayreuth and the Richard Wagner Festivaland#160;and#160;
and#160;and#160;and#160;and#160; The 1970s: The Advent of Regietheaterand#160;and#160;Epilogue / Whither the Future?and#160;and#160;
and#160;and#160;and#160;and#160; Supertitles: A Better Understandingand#160;and#160;
and#160;and#160;and#160;and#160; New Ideas, New Challenges: Innovative Regietheater, or Eurotrash?and#160;and#160;
and#160;and#160;and#160;and#160; Whither the Future?and#160;and#160;Bibliographyand#160;and#160;
Index