OPERA!OPERA!

Journal Entry #10Journal Entry #10

What do you know, or think What do you know, or think you know, about OPERA!?you know, about OPERA!?

CHAPTER 5: ELEMENTS OF CHAPTER 5: ELEMENTS OF OPERAOPERA

OperaOpera – drama that is sung to – drama that is sung to orchestral accompanimentorchestral accompanimentCombines Combines music, acting, poetry, dance, music, acting, poetry, dance,

scenery, scenery, and and costumescostumes for an for an overwhelmingoverwhelming and and emotionalemotional theatrical experiencetheatrical experience

CRASH COURSE IN OPERACRASH COURSE IN OPERA Characters and plots revealed through Characters and plots revealed through

songsong Music helps depict mood, character and Music helps depict mood, character and

dramatic actiondramatic action On stage: On stage:

soloists who can sing and act simultaneouslysoloists who can sing and act simultaneously ChorusChorus DancersDancers Extras (to carry spears, fill out crouds, etc.)Extras (to carry spears, fill out crouds, etc.)

Elaborate scenery, lighting, stage Elaborate scenery, lighting, stage machinerymachineryOften include floods, storms, Often include floods, storms,

supernatural effectssupernatural effectsOrchestra pit holds instrumentalists Orchestra pit holds instrumentalists

and conductorand conductorOther personnel: stage director, vocal Other personnel: stage director, vocal

coaches, rehearsal accompanists, coaches, rehearsal accompanists, technicians, stagehands – SEVERAL technicians, stagehands – SEVERAL HUNDRED PEOPLEHUNDRED PEOPLE

Spectacle, pageantrySpectacle, pageantryVery expensive to produceVery expensive to produceOriginated in courts of kings and princesOriginated in courts of kings and princesHistorically associated with high societyHistorically associated with high societyTechnology and changes in style have Technology and changes in style have

made opera accessible to all audiencesmade opera accessible to all audiences““Live at the Met”Live at the Met”

LibrettoLibretto – text the opera music is set – text the opera music is set to (text comes first), written by a to (text comes first), written by a librettistlibrettist

Operas can be serious, comic, bothOperas can be serious, comic, bothMay contain spoken dialogue, but May contain spoken dialogue, but

most are most are entirely sungentirely sungSinging a text takes longer than Singing a text takes longer than

speaking it. Text of a 3-hour opera is speaking it. Text of a 3-hour opera is less than text of a 3-hour dramaless than text of a 3-hour drama

Range of characters broad and Range of characters broad and variedvaried

Singers must be able to act the parts Singers must be able to act the parts as well as sing the notesas well as sing the notes

4 basic voice types are divided more 4 basic voice types are divided more finely in operafinely in opera

Coluratura SopranoColuratura Soprano – very high range; can – very high range; can execute rapid scales and trillsexecute rapid scales and trills

Lyric SopranoLyric Soprano – Rather light voice, sings – Rather light voice, sings roles calling for grace and charmroles calling for grace and charm

Dramatic Soprano – Dramatic Soprano – full, powerful voice; full, powerful voice; capable of passionate intensitycapable of passionate intensity

Lyric tenorLyric tenor – relatively light, bright voice – relatively light, bright voice Dramatic tenorDramatic tenor – powerful voice; capable of – powerful voice; capable of

heroic expressionheroic expression Basso buffoBasso buffo – comic roles; can sing very – comic roles; can sing very

rapidlyrapidly Basso ProfundoBasso Profundo – very low, powerful voice; – very low, powerful voice;

takes roles calling for great dignitytakes roles calling for great dignity

1-5 1-5 actsacts, subdivided into , subdivided into scenesscenesMain attraction of an operaMain attraction of an opera

AriaAria – song for solo voice with – song for solo voice with orchestral accompanimentorchestral accompanimentVery melodicVery melodicOften, the opera’s action stops while the Often, the opera’s action stops while the

character’s feelings are revealedcharacter’s feelings are revealedSelf-contained piece, often applauded after, Self-contained piece, often applauded after,

even though it stops the flow of the operaeven though it stops the flow of the opera

RecitativeRecitative – a vocal line that – a vocal line that imitates the rhythms and pitch imitates the rhythms and pitch fluctuations of speech fluctuations of speech recitative = recitative = “recite”“recite”))Usually precedes ariaUsually precedes ariaWords sung quickly and clearlyWords sung quickly and clearlyRepeated tonesRepeated tonesOne note to one syllableOne note to one syllable

ChorusChorus – large choral ensemble in – large choral ensemble in an operaan operaMakes comments, creates atmosphereMakes comments, creates atmosphereCreates musical background for soloistsCreates musical background for soloists

PrompterPrompter – gives cues and reminds – gives cues and reminds singers of words or pitches if they singers of words or pitches if they momentarily forgetmomentarily forget

DanceDance – mostly light, incidental – mostly light, incidentalUsed as setting while the soloists, Used as setting while the soloists,

downstage (toward front of stage) downstage (toward front of stage) advance the plotadvance the plot

Orchestra PitOrchestra Pit – nerve center – nerve centerDark, sunken down in front of stageDark, sunken down in front of stageIncludes a conductorIncludes a conductor

OvertureOverture – opening instrumental – opening instrumental composition of an opera.composition of an opera.

PreludePrelude – smaller instrumental – smaller instrumental composition introducing an actcomposition introducing an act

CHAPTER 6: OPERA IN THE CHAPTER 6: OPERA IN THE BAROQUE ERABAROQUE ERA

Look in books for Chapter 6Look in books for Chapter 6

CHAPTER 7: CLAUDIO CHAPTER 7: CLAUDIO MONTEVERDIMONTEVERDI

Cremona, ItalyCremona, ItalyEarly baroqueEarly baroqueServed Court of Served Court of

Mantua 21 years, Mantua 21 years,

singer, then violinist, singer, then violinist,

then music directorthen music directorOrfeoOrfeo, 1607, 1607Little pay and respectLittle pay and respect

Life improved around 1613 – Life improved around 1613 – appointed music director and St. appointed music director and St. Mark’s Cathedral, Venice – most Mark’s Cathedral, Venice – most important church position in Italyimportant church position in ItalyStayed 30 years until deathStayed 30 years until death

Monumental figure in music historyMonumental figure in music historyWorks form musical bridge between 16Works form musical bridge between 16thth

and 17and 17thth centuries centuriesGreatly influenced composers of the Greatly influenced composers of the

timetimeWanted to create music of emotional Wanted to create music of emotional

intensityintensity

Opera: Opera: OrfeoOrfeo - - Composed 1607 for Composed 1607 for Mantuan courtMantuan courtOrpheus, Greek musician, happy after Orpheus, Greek musician, happy after

marriage to Euridicemarriage to EuridiceJoy shattered when she dies (bit by Joy shattered when she dies (bit by

snake)snake)Goes to Hades to bring her back to lifeGoes to Hades to bring her back to lifeGranted this privilege because of his Granted this privilege because of his

musicmusicOne condition: can’t look at her when One condition: can’t look at her when

leading her out of Hadesleading her out of Hades

He does lookHe does lookApollo pities him Apollo pities him

and brings him toand brings him to

heaven where he heaven where he

can gaze eternally can gaze eternally

at Euridice’s at Euridice’s

radiance in the radiance in the

sun and starssun and stars

LISTENING TO ORFEOLISTENING TO ORFEO

Act II Recitative: Act II Recitative: Tu se’ morta Tu se’ morta (you (you are dead)are dead)Claudio MonteverdiClaudio MonteverdiSung by Orpheus after being told of Sung by Orpheus after being told of

Eurydice’s deathEurydice’s deathHomophonic texture, accompaniment Homophonic texture, accompaniment

gives harmonic support to voicegives harmonic support to voiceWord painting: stars/sun, Word painting: stars/sun,

abysses/deathabysses/deathBooks pg. 150Books pg. 150

Che faro senza Euridice?Che faro senza Euridice?

What will I do without Euridice?What will I do without Euridice?Where will I go without my wonderul Where will I go without my wonderul one?one?Euridice, oh God, answer.Euridice, oh God, answer.I am entirely your loyal one. I am entirely your loyal one. Euridice! Ah, it doesn´t give me any Euridice! Ah, it doesn´t give me any help, help, any hope neither this world, neither any hope neither this world, neither heaven. heaven.

Chapter 8Chapter 8Henry PurcellHenry Purcell

1659-16951659-1695

LifeLife

Called the greatest of English composersCalled the greatest of English composersBorn in London 1659Born in London 1659Age 10 - he became a choirboy in the Age 10 - he became a choirboy in the

Chapel RoyalChapel RoyalAge 18 - he became composer to the Age 18 - he became composer to the

king’s string orchestraking’s string orchestraAge 20 - appointed organist of Age 20 - appointed organist of

Westminster AbbeyWestminster AbbeyAge 23 - became organist of the Chapel Age 23 - became organist of the Chapel

RoyalRoyal

Life cont.Life cont.

Mastered all forms of music of the late 17Mastered all forms of music of the late 17thth century; church music, secular choral music, century; church music, secular choral music, instrumental, songs, music for the stageinstrumental, songs, music for the stage

Wrote only one true opera; Wrote only one true opera; Dido and Aeneas Dido and Aeneas (1689)(1689) Many consider this to be the greatest ever written Many consider this to be the greatest ever written

to an English Textto an English Text

His other dramatic works are spoken plays His other dramatic works are spoken plays with musical numbers in the form of overtures, with musical numbers in the form of overtures, songs, choruses, and dances.songs, choruses, and dances.

What is he known for?What is he known for?

Handling of the English languageHandling of the English languageHis vocal music is faithful to English His vocal music is faithful to English

inflection and brings out the meaning of inflection and brings out the meaning of the textthe text

His music is full of lively rhythms and a His music is full of lively rhythms and a fresh melodic style that captures the spirit fresh melodic style that captures the spirit of English folk songsof English folk songs

His use of dissonances seemed harsh to His use of dissonances seemed harsh to the generation of musicians who followed the generation of musicians who followed himhim

Ground BassGround Bass

A musical idea repeated over and A musical idea repeated over and over while the melodies above it over while the melodies above it changechange

Can be of any lengthCan be of any length

Used in vocal and instrumental musicUsed in vocal and instrumental music

Dido and AeneasDido and Aeneas

Masterpiece of baroque operaMasterpiece of baroque operaWritten for students at a girls’ boarding schoolWritten for students at a girls’ boarding schoolLasts only an hour, scored for strings and Lasts only an hour, scored for strings and

harpsichord continuoharpsichord continuoRequires no elaborate stage machinery or Requires no elaborate stage machinery or

virtuoso soloistsvirtuoso soloistsUsed many dances in this work because the Used many dances in this work because the

director of the school was a dancing master director of the school was a dancing master who wanted to display the student’s who wanted to display the student’s accomplishmentsaccomplishments

Opera cont.Opera cont.

Libretto by Nahum Tate – inspired by Libretto by Nahum Tate – inspired by the Aeneid, and epic poem by the the Aeneid, and epic poem by the Roman Poet Virgil (70-19 B.C.)Roman Poet Virgil (70-19 B.C.)

PlotPlot

After the destruction of Troy, Aeneas After the destruction of Troy, Aeneas has been ordered by the gods to has been ordered by the gods to seek a site for building a new City.seek a site for building a new City.

He sets out on a search with 21 shipsHe sets out on a search with 21 ships

Plot cont.Plot cont.

After landing at Carthage, a North After landing at Carthage, a North African seaport, Aeneas falls in love African seaport, Aeneas falls in love with Dido. A sorceress with two with Dido. A sorceress with two witches see this as an opportunity to witches see this as an opportunity to plot Dido’s downfall.plot Dido’s downfall.Remember, at this time people actually Remember, at this time people actually

believed in witches. 19 “witches” were believed in witches. 19 “witches” were hanged in Massachusetts in 1692, three hanged in Massachusetts in 1692, three years after Dido’s first performance)years after Dido’s first performance)

Plot cont.Plot cont.

A false messenger tells Aeneas that the gods A false messenger tells Aeneas that the gods command him to leave Carthage immediately command him to leave Carthage immediately and renew his search. and renew his search.

Aeneas agrees but is heartbroken at the Aeneas agrees but is heartbroken at the thought of leaving Dido. In the last act, which thought of leaving Dido. In the last act, which takes place at the harbor, Aeneas’s sailors sing takes place at the harbor, Aeneas’s sailors sing and dance before leaving, and the witches look and dance before leaving, and the witches look on in glee. on in glee.

Plot cont.Plot cont.

An emotional scene follows between An emotional scene follows between Aeneas and Dido, who enters with her Aeneas and Dido, who enters with her friend Belinda. Dido calls Aeneas a friend Belinda. Dido calls Aeneas a hypocrite and refuses his offer to stay.hypocrite and refuses his offer to stay.

After he sails, Dido sings a noble, After he sails, Dido sings a noble,

deeply tragic lament and kills herself. deeply tragic lament and kills herself. The opera concludes with the The opera concludes with the mourning of the chorus.mourning of the chorus.

LISTENING TO DIDO AND LISTENING TO DIDO AND AENEASAENEAS

Dido’s LamentDido’s LamentSorrowful mood, climax of operaSorrowful mood, climax of operaDescending chromatic ground bass Descending chromatic ground bass

pattern (a common way of pattern (a common way of demonstrating grief)demonstrating grief)

The words “remember me” reaches The words “remember me” reaches highest note of the aria, haunts the highest note of the aria, haunts the listenerlistener

CONCERTS TO ATTENDCONCERTS TO ATTEND

EHSEHSTuesday, Oct. 11, 7:30 p.m. – Choir Tuesday, Oct. 11, 7:30 p.m. – Choir

ConcertConcertThursday, Oct. 13, 7:30 p.m. – Orchestra Thursday, Oct. 13, 7:30 p.m. – Orchestra

ConcertConcertFriday/Saturday, Dec. 2-3 – Madrigal Friday/Saturday, Dec. 2-3 – Madrigal

Dinners (Liberty MS)Dinners (Liberty MS)Wednesday, Dec. 7, 7:30 p.m. – Holiday Wednesday, Dec. 7, 7:30 p.m. – Holiday

ConcertConcert

Greenville College (Greenville, IL – Greenville College (Greenville, IL – about 35 minutes from here)about 35 minutes from here)Sunday, December 4, 4:00 p.m. – Sunday, December 4, 4:00 p.m. –

Handel’s Handel’s MessiahMessiah and Bach’s and Bach’s MagnificatMagnificat

““Live at the Met” (Edwardsville movie Live at the Met” (Edwardsville movie theater)theater) Donizetti’s Donizetti’s Anna BolenaAnna Bolena

Sat., Oct. 15, 11:55 a.m.Sat., Oct. 15, 11:55 a.m.Wed., Nov. 2, 6:30 p.m.Wed., Nov. 2, 6:30 p.m.Anna Netrebko opens the Met season with her portrayal Anna Netrebko opens the Met season with her portrayal

of the ill-fated queen driven insane by her unfaithful king. of the ill-fated queen driven insane by her unfaithful king. She sings one of opera's greatest mad scenes in this Met She sings one of opera's greatest mad scenes in this Met premiere production by David McVicar. Ekaterina premiere production by David McVicar. Ekaterina Gubanova is her rival, Jane Seymour, Ildar Abdrazakov Gubanova is her rival, Jane Seymour, Ildar Abdrazakov sings Henry VIII, and Marco Armiliato conducts. sings Henry VIII, and Marco Armiliato conducts.

Mozart’s Mozart’s Don GiovanniDon GiovanniSat., Oct. 29, 11:55 a.m.Sat., Oct. 29, 11:55 a.m.Wed., Nov. 16, 6:30 p.m.Wed., Nov. 16, 6:30 p.m.

Mozart’s Mozart’s Don GiovanniDon GiovanniSat., Oct. 29, 11:55 a.m.Sat., Oct. 29, 11:55 a.m.Wed., Nov. 16, 6:30 p.m.Wed., Nov. 16, 6:30 p.m.

Mariusz Kwiecien brings his youthful and Mariusz Kwiecien brings his youthful and sensual interpretation of Mozart’s timeless sensual interpretation of Mozart’s timeless anti-hero to the Met for the first time, anti-hero to the Met for the first time, under the direction of Tony Award®-under the direction of Tony Award®-winning director Michael Grandage and winning director Michael Grandage and with Fabio Luisi conducting. Also starring with Fabio Luisi conducting. Also starring Marina Rebeka, Barbara Frittoli, Ramón Marina Rebeka, Barbara Frittoli, Ramón Vargas, and Luca Pisaroni. Vargas, and Luca Pisaroni.

Wagner’s Wagner’s SiegfriedSiegfriedSat., Nov. 5, 11:00 a.m.Sat., Nov. 5, 11:00 a.m.In part three of the Ring, Wagner’s cosmic In part three of the Ring, Wagner’s cosmic

vision focuses on his hero’s early vision focuses on his hero’s early conquests, while Robert Lepage’s conquests, while Robert Lepage’s revolutionary stage machine transforms revolutionary stage machine transforms itself from bewitched forest to itself from bewitched forest to mountaintop love nest. Gary Lehman mountaintop love nest. Gary Lehman sings the title role and Deborah Voigt’s sings the title role and Deborah Voigt’s Brünnhilde is his prize. Bryn Terfel is the Brünnhilde is his prize. Bryn Terfel is the Wanderer. Fabio Luisi conducts. Wanderer. Fabio Luisi conducts.

Glass’s Glass’s SatyagrahaSatyagrahaSat., Nov. 19, 2011, 11:55 a.m.Sat., Nov. 19, 2011, 11:55 a.m.

The Met’s visually extravagant production The Met’s visually extravagant production is back for an encore engagement. is back for an encore engagement. Richard Croft (right) once again is Richard Croft (right) once again is Gandhi in Philip Glass’s unforgettable Gandhi in Philip Glass’s unforgettable opera, which the Washington Post calls opera, which the Washington Post calls “a profound and beautiful work of “a profound and beautiful work of theater.” theater.”

Handel’s Handel’s RodelindaRodelindaSat., Dec. 3, 2011, 11:30 a.m.Sat., Dec. 3, 2011, 11:30 a.m.

Sensational in the 2004 Met premiere of Sensational in the 2004 Met premiere of Stephen Wadsworth’s much-heralded Stephen Wadsworth’s much-heralded production, Renée Fleming reprises the production, Renée Fleming reprises the title role. She’s joined by Stephanie title role. She’s joined by Stephanie Blythe and countertenor Andreas Scholl, Blythe and countertenor Andreas Scholl, and Baroque specialist Harry Bicket and Baroque specialist Harry Bicket conducts. conducts.