Chapter 13:Other Classical Genres

Opera Buffa

Key Terms

Opera buffa

Ensemble

Duet

Opera Buffa

Comic opera now equaled serious opera in importance•Peasants & soldiers replaced emperors &

courtiers•Comic basses replaced heroic castrati

Flexible Classical style perfectly suited to casual, swift, lifelike effects of comedyItalian opera buffa was popular throughout Europe• It influenced growth of French, German, &

English comic operas

Seria vs. Buffa (1)

Story from ancient history or mythology

Featured ancient heroes & nobility

Used recitatives & arias

Often in 3-4 acts• Long operas

Pacing was slow, drawn out

Serious, tragic

Contemporary subjects used

Ordinary middle- & lower-class folk

Used ensembles, recitatives, & arias

Often in 2-3 acts• Shorter operas

Quicker, livelier, more lifelike

Light, comic

Seria vs. Buffa (2)

At its best—Gripping, profound dramaPowerful emotional expressionTimelessness of myth

At its worst—Far-fetched plotsExaggerated emotionNo continuity

At its best—Fast-paced, nonstop entertainmentPointed social commentaryRealistic story & characters

At its worst—Trivial plots & musicComic situations not believable

The Ensemble (1)

Ensemble = a fully musical number sung by two or more soloists

Serious opera alternated between— •Recitative – for dialogue and action•Aria – for meditation on one emotion; singer

steps out of the action to reflect

Ensembles can depict dialogue, action, & emotions simultaneously•Can depict emotions of two or more characters

at the same time – & their changing reactions!

The Ensemble (2)

Ensembles often in several sections •Each with different tempos, keys, & themes•Contrasts allowed greater expressive range

Aria was static; ensemble was dynamic•Opera seria da capo aria ended where it started•Comic ensemble moved the drama & music

ahead several notches

Ensemble’s continuous forward momentum transformed opera buffa•Opera became a much more dramatic genre

Mozart, Don Giovanni

One of Mozart’s greatest opera’s

Written for Prague in 1787

Technically an opera buffa, but—•Also an example of dramma giocoso•Neither wholly comic nor wholly tragic•Enigmatic mixture of both – a “dark comedy”•Mixture happens musically, dramatically, &

character by character

Characters

Serious roles•Donna Anna & Don Ottavio, a noble couple•The Commandant, Donna Anna’s father

Comic roles•Leporello, Don Giovanni’s servant•Zerlina & Masetto, a peasant couple

Mixed roles (both serious & comic)•Don Giovanni (Italian for Don Juan), the

legendary Spanish libertine•Donna Elvira, a noblewoman loved & left by

Don Giovanni

Plot (1)

Don Giovanni’s bawdy escapades belong to opera buffaMore serious is his compulsive pursuit•He promises women anything, but leaves when

he gets his way (Donna Elvira)•He kills the father of a victim (Donna Anna)•He attempts to seduce a peasant (Zerlina) as

she celebrates her betrothal to Masetto•He blasphemes God & the dead (Commandant)•He defies rules of society, morality, & God,

even when it means his doom

Plot (2)

In the graveyard the Commandant’s statue reproaches Giovanni for his blasphemy•Don Giovanni invites the statue to dinner

As Don Giovanni dines, the statue arrives•Giovanni refuses to mend his ways•The statue drags him down to hell

We sympathize both with his punishment and with his verve & braveryWe also feel ambivalent about the others•The other characters both amuse & move us

Act I, scene iii

(Note aristocrat vs. peasant distinctions)Scene begins with a chorus of peasants•They celebrate the betrothal of Masetto &

Zerlina

Don Giovanni arrives with Leporello•He decides to seduce Zerlina•He asks Leporello to keep Masetto occupied

Masetto immediately senses trouble•He confronts Don Giovanni•Don Giovanni threatens him with his sword

Mozart, “Ho capito” (1)

Mozart uses this aria to define Masetto’s character•Short, repeated phrases & frequent strong

cadences depict his simple yet direct nature & his sputtering anger

Mozart, “Ho capito” (2)

But this aria is not static - we see Masetto interacting with several characters•He is nearly insolent in telling Don Giovanni

what an unjust bully he is•He is abrupt in putting off Leporello• In his jealousy he becomes progressively more

furious & sarcastic with Zerlina

Mozart, “Alfin siam liberati”

Secco recitative with continuo only

Dialogue between Don Giovanni & Zerlina

With Masetto out of the way, Don Giovanni begins his seduction•She worries about betraying her promise to

marry Masetto•Giovanni tells her she was not meant to be a

peasant & flatters her for her beauty•She fears Giovanni’s intentions are not good•He promises to marry her immediately

Mozart, “Là ci darem la mano” (1)

Ensemble for Don Giovanni & Zerlina

One of Mozart’s best known tunes•Simple & direct – apt for wooing a peasant

Mozart, “Là ci darem la mano” (2)

Don Giovanni becomes ever more impassioned & persuasive

Zerlina’s resistance gradually breaks down

Dialogue alternates more & more rapidly•Final section in rhythmic unison & quicker•Depicts their agreement & eagerness