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Chapter 10 Baroque Vocal Music Opera

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Page 1: Chapter 10 Baroque Vocal Music Opera. Key Terms “Affects” Coloratura Opera seria Libretto Librettist Recitative Secco recitative Accompanied recitative

Chapter 10Baroque Vocal Music

Opera

Page 2: Chapter 10 Baroque Vocal Music Opera. Key Terms “Affects” Coloratura Opera seria Libretto Librettist Recitative Secco recitative Accompanied recitative

Key Terms

“Affects”

Coloratura

Opera seria

Libretto

Librettist

Recitative

Secco recitative

Accompanied recitative

Castrato

Aria

Da capo (ABA) form

Page 3: Chapter 10 Baroque Vocal Music Opera. Key Terms “Affects” Coloratura Opera seria Libretto Librettist Recitative Secco recitative Accompanied recitative

Baroque Vocal Music

Largest part of a Baroque composer’s output was vocal music•For solo voices, chorus, or both• In demand for church, court, & theater

Close connection between words & music•“Affect” especially important in vocal music

“Vocabulary of the emotions”•“Victory” expressed with trumpets, drums,

lively march rhythms, & major key•“Sorrow” expressed with soft dynamics, slow

rhythms, dissonances, & minor key

Page 4: Chapter 10 Baroque Vocal Music Opera. Key Terms “Affects” Coloratura Opera seria Libretto Librettist Recitative Secco recitative Accompanied recitative

Opera

Reflected Baroque fascination with theater

Flourished throughout Europe after 1600

The most spectacular, adventurous, glamorous, & influential Baroque genre•Combined music, vocal virtuosity, poetry,

drama, dance, scenic splendor, & more•Elaborate stage machinery for rapid scene

changes, deities in clouds or flying chariots, fire-breathing dragons, etc.

• Intense expression of emotion foremost!

Page 5: Chapter 10 Baroque Vocal Music Opera. Key Terms “Affects” Coloratura Opera seria Libretto Librettist Recitative Secco recitative Accompanied recitative

Opera & Emotional Expression

Opera allowed solo singers to express feelings in the most direct, powerful wayOpera plots put characters in situations where intense emotion was naturalEmotions intensified by musicAlso intensified by vocal virtuosity•Coloratura singing–fast brilliant runs, scales,

high notes, vocal cadenzas, etc.•Great singers moved audiences by singing

more beautifully, delicately, & emotionally

Page 6: Chapter 10 Baroque Vocal Music Opera. Key Terms “Affects” Coloratura Opera seria Libretto Librettist Recitative Secco recitative Accompanied recitative

Italian Opera Seria (1)

Principal type of Italian Baroque opera was opera seria (serious opera)

Plots often used tragic heroes, stories from ancient history & mythology

Designed to stir powerful emotions•Passion, rage, grief, triumph, etc.•Many opportunities for singers to express

these emotions one at a time•Needed more plot twists than a soap opera to

make so many emotions believable

Page 7: Chapter 10 Baroque Vocal Music Opera. Key Terms “Affects” Coloratura Opera seria Libretto Librettist Recitative Secco recitative Accompanied recitative

Italian Opera Seria (2)

Almost entirely solo singing•Featured sopranos & mezzo-sopranos

(including castrati)•Tenors & basses played subordinate roles•Very few duets or choruses

Libretto = the text of an opera• Italian for “little book”•Author of the text was the librettist•Librettist shaped the drama•Libretto alternated between prose texts (for

recitative) & poetic texts (for arias)

Page 8: Chapter 10 Baroque Vocal Music Opera. Key Terms “Affects” Coloratura Opera seria Libretto Librettist Recitative Secco recitative Accompanied recitative

Recitative

Musical declamation of words in a heightened, theatrical manner•Always with instrumental accompaniment

Uses free rhythm of emotional speechMirrors natural ups and downs of speech•As in angry outbursts, asides, questioning

Words not repeated, as in speechUsed in scenes that call for—•Action or dialogue•Special emphasis on the words

Page 9: Chapter 10 Baroque Vocal Music Opera. Key Terms “Affects” Coloratura Opera seria Libretto Librettist Recitative Secco recitative Accompanied recitative

Recitative Types

Secco Recitative• Italian secco = dry•Simple continuo accompaniment only•Offers maximum flexibility for singer

Accompanied Recitative•Accompanied by orchestra & continuo•Provides greater weight & emphasis•Reserved for the most excited, emotion-filled

moments

Page 10: Chapter 10 Baroque Vocal Music Opera. Key Terms “Affects” Coloratura Opera seria Libretto Librettist Recitative Secco recitative Accompanied recitative

Aria

A set piece for solo singer & orchestra

Much more musical elaboration & coherence than recitative•Vocal part more melodic•Clear beat, rhythm, & meter•Orchestral accompaniment

Singer-actor mulls over emotions at length•Plot action stops during aria•Frequent repetition of words & phrases

Page 11: Chapter 10 Baroque Vocal Music Opera. Key Terms “Affects” Coloratura Opera seria Libretto Librettist Recitative Secco recitative Accompanied recitative

Da Capo Form

Standard Italian Baroque opera aria form

Ternary form – A B A

Based on poem in two stanzas•A section sets 1st stanza to music•Contrasting B section sets 2nd stanza

Written instruction at end of B says—•Da capo (“from the head”)•Tells performers to go back to the beginning•Performers repeat entire A section

Page 12: Chapter 10 Baroque Vocal Music Opera. Key Terms “Affects” Coloratura Opera seria Libretto Librettist Recitative Secco recitative Accompanied recitative

Ornamentation &Da Capo Form

Customary for solo singer to add ornamentation during repeat of A• Improvised runs, cadenzas, etc.•The slower the tempo, the more elaborate the

ornaments•Permitted singer to show off vocal skill,

virtuosity, & expressiveness•Greatly appreciated by Baroque audiences

Page 13: Chapter 10 Baroque Vocal Music Opera. Key Terms “Affects” Coloratura Opera seria Libretto Librettist Recitative Secco recitative Accompanied recitative

Recitative vs. Aria

Free, speechlike rhythmsPitches follow speech patternsContinuo accompanimentProse text (words stated once)Advances the action (movement)Dialogue–freely interactive

Clear beat, consistent meterPitches form melodic patterns & phrasesOrchestral accompanimentPoetic text (phrases often repeated)Freezes the action (reflection)Soliloquy–expresses one emotion

Page 14: Chapter 10 Baroque Vocal Music Opera. Key Terms “Affects” Coloratura Opera seria Libretto Librettist Recitative Secco recitative Accompanied recitative

Castrato

Castrati were biggest stars in Italian opera•Boys with beautiful voices who were castrated

and never went through puberty•Their voices remained in soprano/alto range•Years of intensive vocal training made them

virtuoso singers•Castrato voice highly prized—more powerful &

brilliant than a woman’s voice

Castrati sang most important male roles•Heroes, romantic leads, & supporting roles

Page 15: Chapter 10 Baroque Vocal Music Opera. Key Terms “Affects” Coloratura Opera seria Libretto Librettist Recitative Secco recitative Accompanied recitative

George Frideric Handel(1685-1759)

Born in Halle, near LeipzigPlayed in Hamburg opera orchestraSuccessful journey to Italy•Wrote operas for Venice, Florence, & Rome

Court musician to Elector of Hanover, who soon became England’s King George IHandel pursued a career in London•Opera impresario–composer, producer, etc.•Turned to oratorio as opera audiences

dwindled

Page 16: Chapter 10 Baroque Vocal Music Opera. Key Terms “Affects” Coloratura Opera seria Libretto Librettist Recitative Secco recitative Accompanied recitative
Page 17: Chapter 10 Baroque Vocal Music Opera. Key Terms “Affects” Coloratura Opera seria Libretto Librettist Recitative Secco recitative Accompanied recitative
Page 18: Chapter 10 Baroque Vocal Music Opera. Key Terms “Affects” Coloratura Opera seria Libretto Librettist Recitative Secco recitative Accompanied recitative
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Handel, Julius Caesar

One of nearly 40 Italian operas for London

Story from Roman history•Takes up events surrounding Egyptian Queen

Cleopatra’s seduction of Roman emperor Julius Caesar

•Cleopatra’s brother Ptolemy has murdered Pompey (Caesar’s foe) & put Cornelia (Pompey’s widow) in his own harem

•Sextus (Cornelia’s son) seeks revenge on Ptolemy (& eventually kills him)

Page 20: Chapter 10 Baroque Vocal Music Opera. Key Terms “Affects” Coloratura Opera seria Libretto Librettist Recitative Secco recitative Accompanied recitative

Handel, “La giustizia” (1)

Sextus promises revenge on Ptolemy

Typical da capo aria–strict A B A form

Aria begins with string orchestra ritornello•Sets the mood, or “affect,” right away•Sextus starts with the same music a bit later

Page 21: Chapter 10 Baroque Vocal Music Opera. Key Terms “Affects” Coloratura Opera seria Libretto Librettist Recitative Secco recitative Accompanied recitative

Handel, “La giustizia” (2)

The “affect” expressed here is anger•Vigorous, strenuous music•Minor key•Loud explosions & coloratura on key words–

“vendetta” (vengeance) “traditor” (traitor) “punire” (punish)

•Dramatic pause near end of A

Page 22: Chapter 10 Baroque Vocal Music Opera. Key Terms “Affects” Coloratura Opera seria Libretto Librettist Recitative Secco recitative Accompanied recitative

Handel, “La giustizia” (3)

B section provides subtle contrast•Visits new keys•More subdued mood•Orchestra drops out–only continuo used

Return of A uses many ornaments•Flourishes added to high notes on “punire” &

long note on “traditor”•Dramatic pause near end filled with virtuoso

cadenza•Ornamented final cadence sweeps us away

Page 23: Chapter 10 Baroque Vocal Music Opera. Key Terms “Affects” Coloratura Opera seria Libretto Librettist Recitative Secco recitative Accompanied recitative

Aria “La giustizia”

La giustizia ha già sull’ arco

Pronto strale alla vendetta

Per punire un traditor.

Quanto è tarda la saetta

Tanto più crudele aspetta

La sua pena un empio cor.

Justice now has in its bow

The arrow primed for vengeance

To castigate a traitor!

The later the arrow is shot

The crueler is the pain suffered

By a dastardly heart!