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Opera Coaching, by Alan Montgomery
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"Opera Coaching "is the first practical guide for pianists, singers, and opera producers to this important--and often neglected--career. The opera coach is a teacher who helps singers not only meet the physical and vocal demands of a score, but--like the dramatic coach--shapes their entire performance. The opera coach must have a wide knowledge, from a full understanding of human physiognomy and the human voice, to the many languages used in Western vocal music, to the entire expanse of the opera repertoire, from its roots in 17th century sung drama through today's most modern compositions. "Opera Coaching "covers all of these topics and more, making it the ideal resource for anyone interested in this fascinating career.
- Sales Rank: #2007666 in eBooks
- Published on: 2007-05-07
- Released on: 2007-05-07
- Format: Kindle eBook
About the Author
Alan Montgomery is the Assistant Director of the Oberlin Opera Theater, and has been a member of the vocal faculty of the Oberlin College Conservatory of Music since 1980. He has served as an Opera Coach at the Hamburg (Germany) State Theater, the Whitewater Opera, and other companies, as well as at vocal institutes at the University of Indianapolis and other U.S. colleges. He has authored two operettas and translated many opera texts for performance.
Most helpful customer reviews
15 of 16 people found the following review helpful.
A Delightful, Easy to Read and Well-Limned Treasure
By jamie johns
I highly recommend this book to anyone who works with professional opera singers on a regular basis. I have a degree in accompanying and have been working in the opera/musical theater world for over 12 years but still this little book covered essential information that I have not encountered anywhere else. It is also a great assurance to the coach who may feel overwhelmed by this unwieldy profession. Immediately after reading this book, I found my coaching techniques to be refined and I was more confident about exactly what I should (and should not) be saying to singers in my coachings with them. I'm also in the position of hiring pianists for staging rehearsals and I wish that all aspiring "repetiteurs" would read this book as well. It thouroughly examines what is expected of the pianist in this unique and sometimes frustrating role. Kudos to Mr. Montgomery for taking some of the mystery out of this mysterious career path. The book is heavier on considerations than on techniques, so perhaps some day a follow-up book could be written (that of course would be a much larger tome) with more specific ideas on how to guide singers to their goals. In the mean time, no book I know will serve the coach/accompanist better in dealing with the challanges of this wonky gig. Mr. Montgomery deserves praise for turning many a gladdening and humorous phrase in a book that could have otherwise been drier than Grout!
14 of 15 people found the following review helpful.
Not really a review.
By Alan Montgomery
I can't write a review of this since I wrote the book itself. But I'll also mention, adding to the above description, that there is much food for thought for singers, conductors, directors, and chorus masters. "Techniques" may refer to ways an opera coach rehearses, but "Considerations" delves into the stylistic aspects of each composer or composition group and what makes one group different from another. There is a rather complete list of vocal Fachs at the end, including many roles omitted in similar lists elsewhere. A "Preferred Edition" section is also part of the Appendix.
As to the number of stars - you think I'm going to give it less than that?
0 of 0 people found the following review helpful.
First of its kind, and hopefully not the last
By Cembalista
This is one of the only books available on this subject, and covers it quite well. Many coaches will have learned most of these techniques and ideas from the real world, but it is an excellent resource for those entering the field. It is also an excellent resource for singers, who can learn how to get more out of their coachings by reading what Montgomery has to offer. Hopefully this book is the start of more resources of this sort, providing a link between what has been a largely aural and oral tradition of performance and coaching.
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