A Contemporary Application of Boris Goldovsky’s Method for Training the Operatic Singer-actor: a Model for Today’s University Opera Workshop Instructor

Thumbnail image of item number 1 in: 'A Contemporary Application of Boris Goldovsky’s Method for Training the Operatic Singer-actor: a Model for Today’s University Opera Workshop Instructor'.
Thumbnail image of item number 2 in: 'A Contemporary Application of Boris Goldovsky’s Method for Training the Operatic Singer-actor: a Model for Today’s University Opera Workshop Instructor'.
Thumbnail image of item number 3 in: 'A Contemporary Application of Boris Goldovsky’s Method for Training the Operatic Singer-actor: a Model for Today’s University Opera Workshop Instructor'.
Thumbnail image of item number 4 in: 'A Contemporary Application of Boris Goldovsky’s Method for Training the Operatic Singer-actor: a Model for Today’s University Opera Workshop Instructor'.
Showing 1-4 of 148 pages in this dissertation.

PDF Version Also Available for Download.

Description

Throughout the twentieth century, Boris Goldovsky (1908-2001) played a significant role in training the operatic singer-actor. One of his most significant contributions was integrating music and drama. He taught his students how to develop a character, how to find dramatic clues in the music, and to become expressive artists free from monotonous operatic gestures and posturing. As author of the first textbook for training the operatic singer-actor, his curriculum was developed from experience, acting traditions, and mentor-student relationships. A new forum, Opera Workshop, allowed him to experiment and test his methods. Although Goldovsky is known to some scholars as the … continued below

Creation Information

Glidden, Jennifer December 2014.

Context

This dissertation is part of the collection entitled: UNT Theses and Dissertations and was provided by the UNT Libraries to the UNT Digital Library, a digital repository hosted by the UNT Libraries. It has been viewed 1345 times. More information about this dissertation can be viewed below.

Who

People and organizations associated with either the creation of this dissertation or its content.

Author

Chair

Committee Members

Publisher

Rights Holder

For guidance see Citations, Rights, Re-Use.

  • Glidden, Jennifer

Provided By

UNT Libraries

The UNT Libraries serve the university and community by providing access to physical and online collections, fostering information literacy, supporting academic research, and much, much more.

About | Browse this Partner

Contact Us

Corrections Questions

What

Descriptive information to help identify this dissertation. Follow the links below to find similar items on the Digital Library.

Degree Information

Description

Throughout the twentieth century, Boris Goldovsky (1908-2001) played a significant role in training the operatic singer-actor. One of his most significant contributions was integrating music and drama. He taught his students how to develop a character, how to find dramatic clues in the music, and to become expressive artists free from monotonous operatic gestures and posturing. As author of the first textbook for training the operatic singer-actor, his curriculum was developed from experience, acting traditions, and mentor-student relationships. A new forum, Opera Workshop, allowed him to experiment and test his methods. Although Goldovsky is known to some scholars as the “Father of Training the Operatic Singer-Actor,” his presence in modern day training material is almost non-existent. How can we understand the needs of educating today’s operatic singer-actor without knowing the very foundation upon which it was built? This paper applies Goldovsky’s method of training to a staging and performance of Act II scene I from Humperdinck’s Hansel and Gretel. Providing this modern application of his training will demonstrate the relevance of his contributions for educators in a contemporary university setting. My findings suggest that Goldovsky’s approach and philosophy to training the young singer-actor provides practical and valuable knowledge that is still viable for today’s university singer-actor educator.

Language

Item Type

Identifier

Unique identifying numbers for this dissertation in the Digital Library or other systems.

Relationships

Collections

This dissertation is part of the following collection of related materials.

UNT Theses and Dissertations

Theses and dissertations represent a wealth of scholarly and artistic content created by masters and doctoral students in the degree-seeking process. Some ETDs in this collection are restricted to use by the UNT community.

About | Browse this Collection

Related Items

Doctoral Lecture: 2014-09-12 – Jennifer Glidden, soprano (Sound)

Doctoral Lecture: 2014-09-12 – Jennifer Glidden, soprano

Lecture presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Doctoral Lecture: 2014-09-12 – Jennifer Glidden, soprano - ark:/67531/metadc917307

What responsibilities do I have when using this dissertation?

Digital Files

When

Dates and time periods associated with this dissertation.

Creation Date

  • December 2014

Added to The UNT Digital Library

  • Aug. 21, 2015, 5:42 a.m.

Description Last Updated

  • Dec. 2, 2022, 11:48 a.m.

Usage Statistics

When was this dissertation last used?

Yesterday: 0
Past 30 days: 1
Total Uses: 1,345
More Statistics

Interact With This Dissertation

Here are some suggestions for what to do next.

Top Search Results

We found five places within this dissertation that matched your search. View Now

Start Reading

Thumbnail image of item number 1 in: 'A Contemporary Application of Boris Goldovsky’s Method for Training the Operatic Singer-actor: a Model for Today’s University Opera Workshop Instructor'.
Thumbnail image of item number 2 in: 'A Contemporary Application of Boris Goldovsky’s Method for Training the Operatic Singer-actor: a Model for Today’s University Opera Workshop Instructor'.
Thumbnail image of item number 3 in: 'A Contemporary Application of Boris Goldovsky’s Method for Training the Operatic Singer-actor: a Model for Today’s University Opera Workshop Instructor'.
Thumbnail image of item number 4 in: 'A Contemporary Application of Boris Goldovsky’s Method for Training the Operatic Singer-actor: a Model for Today’s University Opera Workshop Instructor'.

PDF Version Also Available for Download.

Citations, Rights, Re-Use

International Image Interoperability Framework

IIF Logo

We support the IIIF Presentation API

Links for Robots

Helpful links in machine-readable formats.

Archival Resource Key (ARK)

International Image Interoperability Framework (IIIF)

Metadata Formats

Images

URLs

Stats

Glidden, Jennifer. A Contemporary Application of Boris Goldovsky’s Method for Training the Operatic Singer-actor: a Model for Today’s University Opera Workshop Instructor, dissertation, December 2014; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc699901/: accessed June 21, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .

Back to Top of Screen