Acting and Directing in the Lyric Theater: An Annotated Checklist

Author(s): Robert H. Cowden

Source: Notes, Second Series, Vol. 30, No. 3 (Mar., 1974), pp. 449-459
Published by: Music Library Association
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 ACTING AND DIRECTING IN THE LYRIC
THEATER: AN ANNOTATED CHECKLIST
By ROBERT H. COWDEN

The lyrictheateras we know it today emerged during the beginning

of the 17thcentury.Monteverdi'sOrfeo,a toweringcreation of genius,
exploded on the musical world to create a new art form-the music
drama. Since that moment composers, librettists, performersand pro-
duction personnel have struggled with the problems and challenges
of the music drama, and not incidentallythey have contended with
each other in an effortto influence all the various formsof the lyric
theater. For more than two hundred years singers dominated this
wonderfulmagicworld.The primadonnas and theprimouomos quickly
became the pivot points with all other production elements assuming
a secondaryrole. Verdi and Wagner managed to break thisstranglehold
and reassert the primacy of the composer, but singers still retained
monumentalinfluence. With the advent of Gustav Mahler in Vienna
this influence began to flow from singer to conductor and Toscanini
continued the trend. However, the other forces were contending for
the spotlight.Hans Gregor at the Komische Oper in Berlin was among
the firstto place great emphasis on the stage directorand thisinitiated
a driftwhich has gathered momentumup to the present time.
In retrospectthe period since World War One could be termed
the era of creative staging. The importance of this emphasis can be
clearlyseen if we place it in the contextof an observationby Thurston
Dart in his wonderful little volume, The Interpretation of Music. The
lyrictheateris one of those arts ". . . which need re-creationon every
occasion that they are to be experienced; thus each performanceof
a play or a dance or a piece of music is a unique phenomenon which
may be similarto other performancesof the same work but can never
be said to be identical with them." The stage director is really the
dominant factor in today's recreations! Unfortunatelyhis ideas are
difficultto pin down. Actual stagingand productionconcepts are one
of the neglected areas of theater research, especially lyric theater
research. Several minutes in the music and theater sections of any

Mr. Cowden is Dean of Urban Extension,Wayne State University,Detroit,Mich.-Ed.

449

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major librarywill confirmthis fact. The last thirtyyears have seen
the publication of several excellent books and encyclopedias dealing
withareas of the lyrictheater-but nothingcomprehensiveon staging.
What is really needed is some lyric theater equivalent to Directors
on Directingby Toby Cole and Helen Chinoy. In music theater the
director'swork and influence is still largely unknown and thus the
raison d'etre for this bibliography.Hopefully it can serve as a basis
for such a study. As are all initial effortsit will be incomplete and
toan extentinaccurate,but I trustitsappearance willencourage additions
and corrections.In Europe the work of Felsenstein,Rennert, Schuh,
Visconti, Wieland Wagner and Zeffirelliand in America the efforts
of Caldwell,Capobianco, Corsaro,Logan, Mamoullan and Robbinssurely
meritsour notice and study. The more we understand the work of
stage directorsin the 20th centurythe closer we will come to grasping
the mysteriesof the lyrictheateritself.

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Berlin, Ed. Bote & Bock, 1932. 114 Highlightsdifferencesbetween "period"
p- reconstructionand new directionsin pro-
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staging. However, taking each role CLAUSEN, ROSEMARIE (ed.). The-
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grandson'sproducingand directing. nachgedacht,was Regie ist,ich-habe Regie
gefiihrt."
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COWDEN,
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of Wallerstein ographyofconcertand opera singerswhich
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451

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Based on Kurt S6hnlein's MS in p., 28 illus., 214 item bibliography,
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Wagnerund Bayreuth.A reappraisalof anal-
and aesthetic
theoretical
Historical,
theson'scontributions. ysisof Wagner'scontribution to theatrical
REISSIG, ELISABETH. Erlebte reform.
Opernkunst.Bilder und Gestaltender SALZMAN, ERIC. "The world of
BerlinerStaatsoper. Erste Folge. Ber- Wieland Wagner." Article in Opera
lin, Oesterheld Co. Verlag, 1927. 98 News31/13. pp. 8-15.
p., 12 illus. [500 copies printed]. background
Historical to the 1966 Met-
pp. 27-47 "Regie und Inszenierung." ropolitanOpera productionof Lohengrin.
Holyand Aravantinos.
REISSIG, ELISABETH. Erlebte SASSE, KONRAD. "Zur Anwendung
Opernkunst.Bilder und Gestaltender der Stanislawski-Methode aud die
Berliner Staatsoper. Zweite Folge. Darstellungder Opern Handels." Ar-
Berlin, Oesterheld Co. Verlag, 1928. ticle in Hdndel-festspiele1955 Halle.
133 p., 16 illus. Leipzig, 1955. pp. 64-79.
pp. 9-45 "Die moderneIdee in der The attemptat Halle to update Handel
Opernregie. Franz LudwigHorth."A tal- productionsthroughan applicationof the
enteddirector whowastodiesixyearslater. stateapprovedactingsystem.
RENNERT, GUNTHER (1911- ). SCHAFER, WALTER ERICH
"Opera- an unrealistic art form." (1901- ). GiintherRennert. Regisseur
Translated by Anne Ross. Contribu- in dieser Zeit, Bremen, Carl Schui-
tion to Opera Annual No. 3. London, nemann Verlag, 1962. 119 p., 72 illus.,
JohnCalder, 1956. pp. 79-80/85-89. listof stagings 1935-1962.
Personalthoughtsfroma directorwho A discussionof Rennert'slifeand work
neverstressedrealism. withspecificson the productions of Cosi
fantutte,Jepthaand Lulu.
RIZZO, FRANCIS. "Whence a pro-
duction."Articlein OperaNews34/21. SCHAFER, WALTER ERICH. Wie-
pp. 26-29. land Wagner. Personlichkeitund Leis-
withTito Capobianco.
An interview tung. Tiubingen, Rainer Wunderlich
Verlag Hermann Leins, 1970. 303 p.,
RIZZO, FRANCIS. "Why the direc- 143 illus., complete and detailed list
tor."Articlein Opera News33/ 16. pp. of stagingsat Bayreuthand Stuttgart.
26-30. memorialto a pivotalpost-war
A fitting
An interviewwithOttoSchenk.As with director.
Outstandinganalysisand photos.
No. 80 the readermissesa morelengthy
and probingdiscussion. SCHUH, OSCAR FRITZ (1900- ) &

456

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FRANZ WILLNAUER. Buhne als help to explain why most good directors
geistigerRaum. Bremem, Carl Schiu- are reluctantto describetheirwork,prefer-
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listof stagings 1932-1962, listof pub- itself.
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Schuhwasnotedforhis Mozartproduc- translatedby Elizabeth ReynoldsHap-
tions. good. London, Mac Reinhardt, 1958.
SELLNER, GUSTAV RUDOLF 157 p.
(1905- ) & W. WIEN. Theatralische pp. 35-45 materialfor singerswritten
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earlyin hiscareer. tematikder Opernregie. Regensburg,
SHEA, GEORGE EDWARD (1865-?). Gustav Bosse Verlag, 1964. 290 p., 62
Acting in opera, its A-B-C, with de- item bibliography,index. (Forshungs-
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An historicalcuriosity. Richard'sand Cosima's productions.

SKELTON, GEOFFREY. Wagner at STEINBECK, DEITRICH. "Jurgen

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fried,Winifred,Tietjen and Preetorius,
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A creditablejob consideringthe limited The author is presentlypreparing:
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cooperation fromFriedelind and Wolfgang Opernregie.
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hislifepriorto 1951. STUART, CHARLES. "Acting in
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Auflage. Emsdetten, Verlag Lechte, Describesthelatetenor,FrankMullings,
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1951. xv, 236 p., 22 illus., index. alwaysbeen believablesingingactorsin
As a formerstudentof Skraup,I find opera.
his writing farmoreobtuseand less chal-
lengingthanhisactualteaching.This may THOMAS, ERNST (ed.). Con-

457

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All use subject to JSTOR Terms and Conditions
temporary music theater. Hamburg,
Deutscher Musikrat, 1966. 214 p.
(UNESCO InternationalCongress).
pp. 85-106 "Scenicand musicalrealiza-
suchas
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Rennert, Maximowna and Henze.
VOLLBACH, WALTER RICHARD
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OnlyfulllengthstudyofAppia.Ofmajor
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VOLLBACH, WALTHER RICH-
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Second revised edition. n.p., Archon
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of opera."
WAGNER, KARLHEINZ. Albert
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Germantenor (1831-1917) chosen by
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at Paris (see No. 95) and Siegmundat
Bayreuth.
WAGNER, RICHARD (1813-1883).
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86 p.
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Pictorial much
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92.
WAGNER, WIELAND (ed.). Richard
Wagner und das neue Bayreuth. Mu-
nchen,Paul List Verlag, 1962. 235 p.,
4 illus.
A seriesof essaysby variousartistsand
chosenby Wielandfromthe
intellectuals
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All use subject to JSTOR Terms and Conditions
festivalprograms,the formand contentof
which he strictlycontrolled. His own atti-
tude towardhis grandfather'sworkwas that
"everynew productionis a step on the way
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WAGNER, WIELAND. "Thoughts on
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1955, 1956, 1961, and 1963.
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modernen Buhne. Ein Beitrag zu Ges-
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beitung und Inszenierung in der Zeit
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10 Jahre komische Oper. Heraus-
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der Biuhne"; Wolfgang Hammerschmidt,
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Musiktheaters";SiegfriedMelchinger,"Die
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458
 A thorough study of Pfitzner'swork in- Tannhduser,and Palestrina.Pfitzner'sRe-
cludinga fairlydetailed descriptionof thir- giebuchof Palestrinawaspublishedin Berlin
teen productions including Der Freischiitz, in 1922 by Otto Erhardt.

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