Book Review: The Grove Book of Operas, 2nd edition, edited by Stanley Sadie and Laura Macy (2009, Oxford University Press, ISBN-13: 978-0-19-538711-7)
What Every Opera Lover Wants for Christmas
Because of its long-held status as the source on opera, one might assume that most any opera lover would already have a well used copy of the Grove Book of Opera (1996). So why, then, a second edition? This newest edition boasts that it is “unlike other books of the kind” because it is arranged in the “simplest possible way; not by period and nationality, not by composer, but according to the alphabet.” This alphabetical arrangement allows the reader to look up an opera by simply knowing its title.
In addition, Laura Macy asserts in her preface that in the 10 years since the first edition, opera has continued to thrive, in defiance of ongoing predictions of its imminent demise. Thus, this edition brings readers up to date with the inclusion of new contemporary operas as well as an introduction by David Levin titled “Issues and Trends in Contemporary Opera Production.” In this fascinating essay, Levin offers insights into the current trends in opera, including the modalities of strangeness and contemporary trends on the opera stage.
The writing standard we are accustomed to from Groves continues here, taking readers through 665 pages of opera including “264 of the most popular and most commonly performed operas.” This edition contains added information about the singers who appeared in the premières of the operas, followed by information about “genre, première, librettist, cast list, and outline of the background to the work’s composition and the synopsis.”
A “Glossary” with definitions of opera terms and “Index of Role Names” conclude the book. The back material also includes the appendix, “Index of Incipits of Arias, Ensembles, etc.,” which includes an index of first lines of arias, duets, and other ensembles. Singers and teachers alike will find this a useful resource. How often can you remember the first line of an aria but just can’t remember what opera it comes from?
A chill runs up your spine when opening a book like this one. Every page is packed with a plethora of words expounding upon opera after opera. The possibility for using this information is endless—reference, education, enlightenment, entertainment—and, all in all, it is a reader-friendly (and less academic) format presented in alphabetical order by title of the opera.
I personally hope to find this book wrapped under my tree on Christmas morning (hint, hint). Oh, and season tickets to the opera would also be nice.
Book Review: Voice Work: Art and Science in Changing Voices, by Christina Shewell (2009, Wiley-Blackwell Publication, ISBN-13: 978-0-470-01992-4)
What Every Voice Teacher or Practitioner Wants for Christmas
Voice Work: Art and Science in Changing Voices is a key work that addresses the theoretical and experiential aspects common to the practical vocal work of the three major voice practitioner professions—voice training, singing teaching, and speech and language pathology,” claims the book’s back cover. And, indeed, for the voice teachers and practitioners looking for an essential book to add to their collection of vocal reference books, this is the perfect choice.
Author Christina Shewell is a voice teacher and speech/language therapist. Just in browsing the pages, it’s obvious that Shewell has filled the book with an enormous amount of information regarding the functionality of the voice, along with tools and strategies to help achieve a positive change in the voice. She writes in a way so as to give practical explanation, theory, and information about working with any voice type or problem.
The book is written in six major parts. Parts 1, 2, and 3 (“Considering Voice Work,” “Investigating Voices,” and “The Voice Skills Approach”) deal with the “nature of voice work along the normal to abnormal voice continuum.” The second half provides page after page of “practical voice work ideas,” including “Voice Work Foundations” (Part 4), “Practical Voice Work” (Part 5), and “Voice Disturbance” (Part 6).
The book focuses on how to solve problems if a voice is not functionally efficient. It is a compilation of well known principles, with case studies to illustrate the principle being covered, supported by actual teaching experiences.
As a teacher in a school for the performing arts, I found the common sense suggestions in working with voices along with the many photographs absolutely exciting. I earmarked page 112 and began my teaching the next day with an illustration of the larynx drawn on my right wrist to help me teach my eager students the effect of postural alignment upon their instruments.
Vocal therapists, teachers, and singers alike will be pleased to have this book waiting under their holiday trees.
