![]() The interpretive role of the singer is to present what the composer and librettist have written by using their voice and body to express the internal thoughts of the character externally. The key to truly understanding an operatic character is to consider them in their complete form – text, music and action. As opera is a form of dramatic theatre, character analysis is therefore essential for any singer approaching an operatic role. To assist performers with these two different types of roles, the presentation further explores performance theory and models of character analysis based on the teachings of established acting schools including Stanislavski and Chekhov. This research explores a brief history of these two character types, how Bizet presented them in his operas and how a nineteenth century audience viewed them with examples from Carmen as well as La Jolie Fille de Perth, Les Pêcheurs de Perles, Djamileh and Le Docteur Miracle. ![]() These two characters are extremely different, in their language, music and physicality. In contrast, Micaëla represents the ideal nineteenth century woman, pure, modest and innocent. Carmen represents the exotic woman she is independent, confident and uses her sexuality to her advantage. Her opposing female character, Micaëla, is a young naïve and trusting girl who is also in love with Don José. ![]() ![]() Carmen is a beautiful, elusive and daring gypsy who seduces the soldier Don José. This presentation will primarily study Bizet’s most famous opera Carmen. Georges Bizet’s operas highlight two character types, the femme fatale and the traditional heroine. ![]()
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December 2022
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