| 1. |
- Knust, Martin, 1973-
(författare)
-
Richard Wagner als Regisseur
- 2013
-
Ingår i: Operapoint: Magazin für Oper und Konzert. - Köln : Operapoint. - 1864-4023. ; 13:1, s. 5-7
-
Tidskriftsartikel (populärvet., debatt m.m.)
|
|
| 2. |
- Knust, Martin, 1973-
(författare)
-
Ada, Guido Theodor Apel, Arindal, Bühnenbild, Heinrich Dorn, ‘Die Feen’, Eduard Genast, Ludwig Geyer, Ferdinand Heine, Friedrich Nietzsche, Friedrich Schmitt, ‘Über Schauspieler und Sänger’
- 2012
-
Ingår i: Das Wagner Lexikon. - Laaber : Laaber Verlag. - 9783890075501 ; , s. 23-765
-
Bokkapitel (refereegranskat)
|
|
| 3. |
|
|
| 4. |
- Knust, Martin, 1973-
(författare)
-
Die Bühnengestik im 19. Jahrhundert : Quellen und Ansätze einer szenisch-musikalischen Rekonstruktion
- 2011
-
Ingår i: Musiktheorie. - Laaber : Laaber-Verlag. - 0177-4182. ; , s. 325-344
-
Tidskriftsartikel (refereegranskat)abstract
- This article discusses the possibilities of a reconstruction of the operatic gestures of the 19th century. It presents the different types of sources required for it and even some methodic approaches to use them practically. Such a reconstruction would be fruitful for musicology as well as for the historical informed performance practice. As a tool for research it would help to explain some specific features of 19th-century dramatic music, which partly germinated from a genuinely gestural impulse. Concerning the artistic practice a reconstruction of the ancient physical delivery could enrich the performance practice of opera; this applies not only to the optical component, the stage, but also to the interpretation of music since the wide range and highly expressive style of theatrical gestures of that time might also have a strong impact on the singer’s vocal delivery.
|
|
| 5. |
|
|
| 6. |
|
|
| 7. |
- Knust, Martin, 1973-
(författare)
-
“’... eine tüchtige Stimme und ergreifendes Spiel’ – Die ersten Bayreuther Sänger“
- 2007
-
Ingår i: wagnerspectrum. - Würzburg : Königshausen & Neumann. ; 3:2, s. 115-137
-
Tidskriftsartikel (refereegranskat)abstract
- What were the main qualities demonstrated by the first Bayreuth singers? This question – because Wagner selected those singers himself – leads to two more: Did these singers all have something in common? And if so, can we derive from that something Wagner’s criteria of selection? In this article I outline what I believe are the decisive patterns of his preferences. Most obviously important to him was that the singers possess the physical stature suited for their individual roles, that they have a strong voice, excellent diction, and good skills as actors. Given the fact that Wagner chose in accordance with the dramatic types they were to embody, their purely musical ability was apparently relegated to a level of secondary importance. In general the standards of opera-singing have changed during the last 130 years, but even compared to other European singing styles characteristic of the eighteen-seventies, the Bayreuth standard seems to have been relatively low, if not defective, at least as concerns professional singing technique. To this conclusion I add another: In contrast to what happens in the theatre today with Wagner-interpretation, the quality of the action on stage was of more importance to Wagner than the vocal skill of the singers. This explains why all his rehearsals with soloists consisted as much of rehearsing gestures as rehearsing vocal delivery and expression. It may thus be concluded that in choosing singers, Wagner assumed the role more of stage director than of conductor.
|
|
| 8. |
|
|
| 9. |
|
|
| 10. |
|
|
