Introduction

Why you want artistic self-empowerment
Why you have been denied it
Notes to coach-accompanists and aspiring conductors

Part I - Tools for Musical Self-empowerment

Chapter 1: Know Where You're Going
Chapter 2 Where to Begin: Text Analysis and Expression Marks
Chapter 3: Ornamentation and Recitative

Part II - Performance Practice

Chapter 4: Performance Practice: Overview
Chapter 5: Song Interpretation
Chapter 6: Abstract Music and Vocalizes
Chapter 7: Performance Practice: Conclusion

Part III - Musical musings

Chapter 8: Some vexing musical examples
Chapter 9: The (in)validity of tradition in vocal music
Chapter 10: Professional artistic collaboration strategies
Chapter 11: Audition Strategies
Chapter 12: Maria Callas: self-effacing purist

Part IV - Six Example Analyses

Chapter 13: Six Example Analyses
"Mi chiamano Mimi", from La Bohème by Puccini
"Se come voi piccina", from Le villi by Puccini
"All'afflitto e dolce il pianto", from Roberto Devereux by Donizetti
"Va, laisse couler mes larmes", from Werther by Massenet
"Il lacerato spirito", from Simon Boccanegra by Verdi
Du bist wie eine Blume, Lied by Schumann

Part V - Interviews with great singing actors

Chapter 14: Harolyn Blackwell
Chapter 15: Barbara Hannigan
Chapter 16: Audra McDonald
Chapter 17: Diana Soviero
Chapter 18: Christa Ludwig
Chapter 19: Iestyn Davies
Chapter 20: Jonas Kaufman
Chapter 21: Davóne Tines