The Arsenal of Means Used by a Conductor in Decoding an Opera Score

Authors

DOI:

https://doi.org/10.24193/subbmusica.2023.2.18

Keywords:

opera performance, conductor, compositional techniques, analysis, Orpheus by Claudio Monteverdi.

Abstract

For a conductor the text of the score is that building material used in the creation of “his own world”. This paper examines the system
of means used by a conductor in creating an opera performance. A transformation of the “mobile” and “fixed” elements of the score into a magnificent world of opera performance. The study is based on material from a production of the opera Orpheus by Claudio Monteverdi, directed by Jean-Pierre Ponnelle, conductor being Nikolaus Harnoncourt. This staging can certainly be considered one of the most striking examples of the remarkable interplay between conductor and director in an opera production. Each new revised edition of different opera titles, over the centuries, becomes the product of the personal vision of the creators, acting from the point of view of the aesthetics of its time.

 

Author Biography

Traian ICHIM, Transilvania University of Brașov, Faculty of Music, B-dul Eroilor nr. 29, Cod postal 500036, Brașov, România, traian.ichim@unitbv.ro

Traian ICHIM was born in Chisinau, Republic of Moldova. Between 1994 and 1999 he attended the “Gheorghe Dima” Academy of Music in Cluj-Napoca, in the conducting class of maestro Petre Sbârcea. Since 2003 he has been a principal conductor at the Brasov Opera. Since October 2019, he has been a PhD lecturer at the Faculty of Music within the “Transylvania” University of Brașov. In the more than 20 years of activity Traian Ichim has collaborated with personalities from the world of music, such as: Leo Nucci, Leontina Văduva, Elena Moșuc, Mariana Nicolesco, Florin Croitoru, Andrei Șerban etc. Traian Ichim is the author of several articles published in newspapers and magazines.

References

Casals, Pablo - Corredor, José Maria. Conversations avec Pablo Casals (Conversations with Pablo Casals). Ed. Michel Albin, Paris, 1955.

Călin, Carleta-Steluța. Dicționar de termeni muzicali (Dictionary of musical terms), Editura Științifică și Enciclopedică, București, 1984.

Ichim, Traian. „Conceptul de stil în interpretarea scenică a unei partituri muzicale” (The concept of style in the stage interpretation of a musical score). In Bulletin of the Transilvania University of Braşov – Supplement Series VIII: Performing Arts, Vol. 13 (62) No. 2 special issue, 2021

Rothschild, Fritz. Musical Performance in the Time of Mozart and Beethoven (The Lost Tradition in Music). Part II, London, 1961.

Schonberg, Harold C. Viețile marilor compozitorilor (The Lives of the Great Composers), Editura Lider, București, 1997.

Voileanu-Nicoară, Ana. Contribuții la problematica interpretării muzicale (Contributions to the issue of musical interpretation), Editura MediaMusica, 2005.

von Pidoll, Karl. Elly Ney. Gedanken über eine Künstlertum (Thoughts about being an artist), Helling’sche Verlagsanstalt, Leipzig, 1942.

https://www.youtube.com/watch?v=8361qIY8wpk

Downloads

Published

2023-12-30

How to Cite

ICHIM, T. (2023). The Arsenal of Means Used by a Conductor in Decoding an Opera Score. Studia Universitatis Babeș-Bolyai Musica, 68(2), 257–266. https://doi.org/10.24193/subbmusica.2023.2.18

Issue

Section

Articles

Similar Articles

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 > >> 

You may also start an advanced similarity search for this article.