| dc.description.abstract | In opera, the opera chorus actively shapes the dramatic structure through interactions with the soloists, commentary after events, and momentum provided toward scene endings. Since the chorus traditionally represents the voice of the people, it also provides a natural access point by which audiences may connect to the unfolding drama. To realize its dramatic potential, an opera chorus must have a resonant, vibrant sound that is more “soloistic” than other genres of choral music. Indeed, there are quantifiable acoustic differences between classical solo and choral singing. The characterizations of the chorus must also be convincing. Yet there is only minimal research, to date, describing a systematic approach to rehearsing the opera chorus and applying those rehearsal techniques to specific musical examples. In this disquisition, I summarize existing research regarding choral rehearsal strategies and the role of the chorus master. I then synthesize and apply this research in the form of a chorus master’s analysis of choral excerpts from three contemporary operas recently produced by The Minnesota Opera: Norwegian composer Poul Ruders’ (b. 1949) The Handmaid’s Tale (1998), Jake Heggie’s (b. 1961) Dead Man Walking (2000), and American composer Kevin Puts’ (b. 1972) Silent Night (2011). I argue that a chorus master’s rehearsal strategies for these works must invite efficient, classical vocalism and a dramatic, textually informed interpretation of the elements of melody, harmony, form, rhythm, texture, and timbre. The composers of these three operas hoped to engage audiences about specific social issues: whether absolute power corrupts any ideology in The Handmaid’s Tale; whether capital punishment should be allowed in Dead Man Walking; and from the historical wartime truce in Silent Night, whether violent conflict is the direct result of our failure to seek connections with others who hold convictions different from our own. But social learning requires dialogue. The opera chorus, in giving voice to the people, can be a bridge between the audience and the greater social lessons to be learned from these operas. It can inspire audience members to share their experience and begin this dialogue. Thus, for the chorus master, there is much at stake. | en_US |
