I explore, through analysis of interviews with students, teachers and audience members, and analysing performances by myself and established professionals, how opera singers approach characterising a concert of arias for performance on the concert platform.
Little consideration has been given by singers, or their teachers, to the fact that the concert platform is an entirely different context to the opera stage, and thus, I posit that characterisation needs to be considered differently. I argue that although there are some similarities in the approaches, as essentially what is being performed is the same music, the context of a concert requires the performer to adopt a different approach.
Significantly, the fundamental difference between an opera performance and a staged concert performance resides in the structural location of the aria, which does not sit in a dramatic trajectory, which prefaces and establishes the dramatic context for the aria. This project produces suggestions and pedagogical resources in the form of Recommendations which are available to aid singers and teachers in approaching a concert of opera arias for the concert platform.
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