The singer as interpreter : Claire Croiza's master classes
Author(s)
Bibliographic Information
The singer as interpreter : Claire Croiza's master classes
Victor Gollancz, 1989
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Note
"These Master Classes have been taken and translated from "Un art de l'interprétation Claire Croiza" by Hélène Abraham ... published ... 1954"--T.p. verso
Discography: p. 191-195
Description and Table of Contents
Description
This biographical text contains translations of some of the master classes given by Claire Croiza in the 1930s, when she lectured on many aspects of singing and interpretation with particular reference to French composers. The stage of her career with which the book is chiefly concerned is her work as a singer for such composers as Faure, Debussy, Duparc, De Breville, Roussel, Milhaud and Honegger, who admired her interpretations of their songs. Because of her intimate knowledge of how these composers wished their works to be performed, she was asked to give classes at the Ecole Normale de Musique in Paris in the late 1920s and throughout the 1930s. The text describes her comments on individual songs, and attempts to relate the informal character of her lectures or "causeries".
Table of Contents
- Recollections of Claire Croiza
- how to work at singing
- respect for the musical text
- articulation and pronunciation
- poem and composer
- imagination and interpretation on the concert platform
- choice of repertoire
- the public and the psychology of the interpreter
- songs of French composers - Gounod, Bizet, Chabrier, Faure, Duparc, Chausson, Debussy, Roussel, Ravel, Caplet, Milhaud
- the interpreter on stage
- Orphee in Gluck's opera
- Carmen in Bizet's opera with reference to Merimee
- "Pelleas et Melisande" by Debussy.
by "Nielsen BookData"