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[Master's Student Recital]

This thesis is a compilation of performances from seasons of three different works; Histoire du soldat by Igor Stravinsky, Hansel und Gretel by Engelbert Humperdinck and La Finta Giardiniera by Wolfgang Amadeus Mozart. Each work is presented twice with different camera views. The first is 'reverse angle' (or near reverse) which gives the viewer an impression of the conductor as seen by the performers. The second is 'house view', the stage as seen from the audience: in places the conductor is also visible. Additionally, these two perspectives give the viewer different audio impressions, that of both the performer and the audience. In each case, there is a marked difference in balance of singers, speakers and instrumental ensemble. Tape one is of Histoire du soldat by Igor Stravinsky, performed at the Frederick Wood Theatre at the University of British Colombia. The performing ensemble was a collaboration between the author, acting as Musical Director and Bachelor of Arts (Honours) student Sabine Sengmueller (Stage Director), with members of cast and instrumental ensemble other students. The reverse angle view is of performances on November 15 and 17, as indicated in the table of contents. The house view is taken from the performance on November 20. Tapes two and three are of Humperdinck's Hansel und Gretel. These were performed at the Sagebrush Theatre in Kamloops, with the Kamloops Symphony Orchestra and UBC Opera Ensemble performing on December 13. Again, tape two is reverse angle and tape three, house view. For this performance, the author is acting as Assistant Conductor to Mr Bruce Dunn, Music Director of the Kamloops Symphony. The final tapes, number 4 and 5, are of a collaborative project by the University of British Colombia School of Music Symphony Orchestra and Opera Ensemble. Professor Jesse Read, head of the School or Music, was the conductor for this season. The author acted as Assistant Conductor, performing on April 2, 1998. The work performed, La Finta Giardiniera by Wolfgang Amadeus Mozart. It is important to note that the reverse angle (tape 4) was compromised by the presence of the stage set, and a lack of technical equipment at the Chan Centre for the Performing Arts, where the performances occurred. The angle shown is from the choir stalls, opposite prompt side.

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