Principles and Procedures of the Construction of Opera Scenarios

Mădălina Gabriela BOURCEANU

doi:10.24193/subbmusica.2023.2.07

Authors

Mădălina Gabriela BOURCEANU Transilvania University of Braşov, E-mail: bourceanumadalina@yahoo.com https://orcid.org/0009-0001-1469-2314

DOI:

https://doi.org/10.24193/subbmusica.2023.2.07

Keywords:

opera scenario construction, musical drama, analysis of the libretto, Eugene Onegin, The Queen of Spades.

Abstract

The construction of opera scenarios involves the development of a dramatic and narrative framework upon which an opera is built. These scenarios serve as the foundation for the libretto, music, staging, and overall production of the opera. In this introduction, we will explore the principles and procedures that guide the creation of opera scenarios. In summary, constructing an opera scenario is a complex and collaborative process that involves the careful consideration of narrative, character, music, and cultural context. The principles and procedures outlined here provide a foundation for the creation of opera scenarios that can captivate audiences and convey the depth of human emotion through music and drama. Over time, the evolution of the singing voice follows a phenomenon of symbiosis between words and music. The intertwining of the act of speaking with that of singing is constantly found in the concerns of the creators in ancient monody, Greek declamation, Gregorian chant, in the polyphonic style, in the opera performance as well as in all the ramifications of the vocal genre.

Author Biography

Mădălina Gabriela BOURCEANU, Transilvania University of Braşov, E-mail: bourceanumadalina@yahoo.com

Mădălina Gabriela BOURCEANU was born in Braşov, Romania on 22.11.1992. She started her musical studies as a violinist for twelve years, currently being the soloist at the Brașov Opera since 2017. Scientific activity consists of a PhD thesis, entitled Vocality and expression in the interpretive art of female characters in the works of composer Giacomo Puccini, and of publishing three scientifical articles, as follows: The directorial conception on operetta „Silvia” by Emmerich Kalman, Preparing the actor singer for the role and The spinto soprano voice and comparative analysis Aria Vissid`arte from the opera Tosca by Giacomo Puccini. The interpretation of the soprano Madalina Bourceanu was distinguished by a perfect technique, by the knowledge of the stylistic peculiarities of musical styles. She has a vast repertoire that currently includes roles of opera and operetta. At the same time, in the repertoire there are numerous Lieds from the works of classical, romantic, and contemporary composers, approaching the vocal-symphonic repertoire.

See: https://www.opera-brasov.ro/bourceanu-madalina-soprana/

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