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Title: The Third Line: The Opera Performer As Interpreter by Daniel Helfgot, William O. Beeman ISBN: 0-02-871036-3 Publisher: Schirmer Books Pub. Date: August, 1993 Format: Hardcover Volumes: 1 List Price(USD): $38.00

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Average Customer Rating: 4.5 (4 reviews)

Rating: 3
Summary: Beeman doesn't know how to use Amazon
Comment: I wonder if William O. Beeman realizes that when he reveiwed his own book, he awarded his own work zero stars. I've been reading his Margaret Mead reviews, and had trouble reconciling his zero star reviews with his written comments. William O. Beeman may know Opera and Margaret Mead, but he definitely needs help from the book "Amazon.com for Idiots."

Rating: 5
Summary: Every singer should own this book
Comment: This book is a breath of fresh air. Singers are a beaten up, battered down, ignored and abandoned lot. Nothing feels worse than standing on stage and not knowing what to do with your hands, face, body. Directors rarely help. Teachers make you sound pretty. This book gives you a strategy for looking good and coming across well to the audience. If everyone would read this book and pay attention to its message, opera would be far more popular, and would lose its reputation for dramatic boredom. Helfgot and Beeman have real wisdom between two covers. Bravo! Bravo! Bravo!

Rating: 5
Summary: A treasure!
Comment: Very useful for the opera performer and director as well, with lots of practical tips and details for never appearing vacant-eyed onstage. This is the nitty-gritty. Especially useful for those who have to deal with, as the book says, 'traffic cop' opera directors - "Okay, you come down here and sing your aria, and then..." Bar-by-bar analyses of such greats as "Ella giammai m'amo", "Non so piu cosa son, cosa faccio", etc. It shows you how to get at the emotion underlying the words, and how to access your own and the characters' motivation, in a practical, bar-by-bar method, using the music itself as a guide ... Great for teaching you how to access the character, acting and staging clues hidden in the music. A bit 'product-oriented' rather than 'process-oriented' but this is hardly a flaw - there are plenty of Stanislavsky technique books out there if you're so inclined. ...