Acting in opera: a consideration of the status of acting in opera production and the effect of a Stanislavski inspired rehearsal process

In opera, acting is often seen as secondary to vocal performance. This study considers the status of acting in the development of opera performance and considers whether a more complete actor training system might better equip classically trained singers as actors. It reviews the actor training offered by the Conservatoires in the United Kingdom, the experience of training for the stage reported by some notable 20th century singers and some singers and directors currently working internationally in opera. The study draws its conclusions through a comparison of a production of Dido and Aeneas, where the singers use Stanislavski influenced methods of preparation and a collaborative approach to rehearsals, and a production of Acis and Galatea, employing the more usual didactic style of direction, which makes up the practice-based component of this research project