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University Microfilms International 300 N INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which.may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. 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These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. University Microfilms International 300 N. Zeeb Road Ann Arbor, Ml 48106 8403477 Stoffel, David Neil THE RISE AND FALL OF THE CITY OF MAHAGONNY: AN INTERPRETIVE STAGING AS APPLIED TO UNIVERSITY OPERA THEATER PRODUCTIONS The Ohio State University D.M.A. 1983 University Microfilms International300 N. Zeeb Road, Ann Arbor, Ml 48106 Copyright 1984 by Stoffel, David Neil All Rights Reserved PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified herewith a check mark V . 1. Glossy photographs or pages ______ 2. Colored illustrations, paper or print 3. Photographs with dark background t / 4 . Illustrations are poor copy ______ 5. Pages with black marks, not original copy. 6. Print shows through as there is text on both sides of page ______ 7. Indistinct, broken or small print on several pages 8. Print exceeds margin requirements ______ 9. Tightly bound copy with print lost in spine ______ 10. Computer printout pages with indistinct print _______ 11. P ag e(s) _____________ lacking when material received, and not available from school or author. 12. P ag e(s) _____________ seem to be missing in numbering only as text follows. 13. Two pages numbered ____________ . Text follows. 14 . Curling and wrinkled pages ______ 15. O ther _________________________________________________________ _ _ _ _ _ _ _ _ University Microfilms International THE RISE AND FALL OF THE CITY OF MAHAGONNY: AN INTERPRETIVE STAGING AS APPLIED TO UNIVERSITY OPERA THEATER PRODUCTIONS DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By David Neil Stoffel, B.M.E., M.M. ***** The Ohio State University 1983 Reading Committee: Approved By: Mario Alch V. Peter Costanza _ ___ <__ Adviser Herbert Livingston School of Music VITA August 1, 1948............... Born - Marietta, Ohio 1971.... ..................... B.M.E., Heidelberg College, Tiffin, Ohio 1973-1976..................... Teaching Associate, Department of Music, The Ohio State University, Columbus, Ohio 1975.......................... M.M., The Ohio State University, Columbus, Ohio 1976-1979..................... Assistant Professor of Voice/ Opera, Ohio University, Athens, Ohio 1979-Present................. Assistant Professor of Voice/ Opera, The University of Georgia, Athens, Georgia FIELDS OF STUDY Major Field: Music Studies in Voice. Professors Paul Hickfang, John Muschick and Mario Alch Studies in Vocal Pedagogy. Professor John Muschick Studies in Vocal Literature. Professors Mario Alch and John Muschick DEGREE RECITALS December 14, 1975, 7:00 p.m. Mershon Auditorium Columbus, Ohio Professor - Paul Hickfang Messiah ii By George Frederic Handel (An original presentation as performed in Dublin on April 13, 1742) Maurice Casey, Conductor Charlotte Wiant Soprano Elaine Harrod Soprano Anita Berry Alto John goldsmith Counter-Tenor Kevin Gordon Tenor David Stoffel Ba s s The OSU Chorale and OSU Symphony Orchestra * * * * * April 25, 1979, 8:00 p.m. Hughes Auditorium Columbus, Ohio Professor - John Muschick David Stoffel, Bass-Baritone Gail Berenson, Piano Ich habe genug, from Cantata No. 82 J. S. Bach Assisted by: Howard Niblock, Oboe Solo O bellissimi capelli Falconieri Presto, presto io m'innamoro Mazzaferrata Dolce Amor, bendato Dio Cavalli Du bist wie eine Blume Franz Liszt Kling leise, mein Lied Franz Liszt Es muss ein wunderbares sein Franz Liszt 0 tu palermo, from I Vespri Siciliani Giuseppi Verdi Serenade Florentine Henri Duparc Lamento Henri Duparc Soupir Henri Duparc La Vague et la Cloche Henri Duparc iii Five Finger Exercises Paul Reif A. Lines to Ralph Hodgson, Esqr. B. Lines to a Persian Cat C. Lines to a Yorkshire Terrier D. Lines to a Duck in the Park E. Lines to Mr. Eliot * ie ie "k it August 6, 1980, 8:00 p.m. Hughes Hall Auditorium Columbus, Ohio Professor - Mario Alch David N. Stoffel, Bass-Baritone Paul Dorgan, Piano Die schttne Magelone, Op. 33 Johannes Brahms I. Keinen hat es noch gereut II. Traun! Bogen und Pfeil sind gut ftlr den Feind III. Sind es Schmerzen, sind es Freuden IV. Liebe kam aus fernen Landen V. So willst du des Armen VI. Wie soli ich die Freude, die Wonne denn tragen VII. War es dir, dem diese Lippen bebten VIII. Wir mtlssen uns trennen IX. Ruhe, Stissliebchen, im Schatten X. So tdnet denn, schdumende Wellen XI. Wie schnell verschwindet so Licht als Glanz XII. Muss es eine Trennung geben XIII. Geliebter, wo zaudert dein irrender Fuss XIV. Wie froh und frisch mein Sinn sich hebt XV. Treue Liebe dauert lange ie 1c * * ie November 6, 1981, 8:00 p.m. Weigel Auditorium Columbus, Ohio Professor - Mario Alch David N. Stoffel, Bass-Baritone Raymond Gotko, Piano iv Cheryl Boyd-Waddell, Soprano • Heloise and Abelard Thomas Pasatieri for soprano, baritone and piano The Telephone or L 1amour a trois Gian-Carlo Menotti characters: Lucy: Cheryl Boyd-Waddell Ben: David N. Stoffel v PREFACE The following document is designed to aid those people interested in staging epic opera and specifically The Rise and Fall of the City of Mahaqonny, an opera by Kurt Weill with libretto by Berthold Brecht. The contents of the paper have been taken from research into the music and theater of Weill and Brecht, consultations with persons familiar with and experienced in epic drama, and the wri­ ter's personal experience in directing and staging university opera theater productions. This paper focuses primarily on the interpretive staging of Mahaqonny with careful attention given to authentic style. Drawings, sketches, and musical examples have been included along with additional information rele­ vant to the development of characterization and staging. It is the author's original conception of a forth­ coming production. With the addition of a Doctor of Musical Arts program in the School of Music at The Univer­ sity of Georgia, the feasibility of a full-length performance now exists, especially as a joint production with the Department of Drama. vi TABLE OF CONTENTS Page VITA.................................................... ii PREFACE................................................ vi INTRODUCTION........................................... 1 Chapter I. THE MUSIC OF KURT WEILL...................... 5 II. THE THEATER OF BERTHOLD BRECHT.............. 16 III. THE SET DESIGN OF MAHAGONNY................. 22 IV. THE SYNOPSIS OF MAHAGONNY................... 27 V. THE PRINCIPAL CHARACTERS OFMAHAGONNY ....... 31 VI. AN INTERPRETIVE STAGING OF'MAHAGONNY....... 36 Act I, Scene1 ........................... 36 Act I, Scene 2 ........................... 40 Act I, Scene3 ........................... 42 Act I, Scene4 ........................... 44 Act I, Scene 5 ........................... 45 Act I, Scene6 ........................... 48 Act I, Scene7 ........................... 48 Act I, Scene8. .......................... 51 Act I, Scene . 9 ........................... 52 Act I, Scene10 .......................... 54 Act I , Scene 11.......................... 55 Act II, Scene 12......................... 58 Act II, Scene 13......................... 59 Act II, Scene 14......................... 60 Act II, Scene 15......................... 61 Act II, Scene 16......................... 63 Act III, Scene 17....................... 65 Act III, Scene 18........................ 66 Act III, Scene19 ........................ 69 Act III, Scene20 ........................ 70 Act III, Scene21 ........................ 71 vii VII. CONCLUSION............. 73 APPENDIXES A. Musical Examples..............................
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