Survey
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
Download bel canto - WFS-IB-MUSIC
Document related concepts
Transcript
Chapter 17: Romantic Opera Early Romantic Opera; Verdi and Italian Opera Key Terms • • • • • • early Romantic opera Italian opera German opera bel canto exoticism arioso Romantic Opera • 19th century a golden age for opera • influenced by Romantic themes – transcendence of artistic barriers – blurring art forms – music as the most profound art • message and meaning taken seriously – not just for entertainment anymore – subjects from respected literature Early Romantic Opera • starting in 1820s, more serious, even tragic operas • French grand operas—Meyerbeer and Rossini • Tragic Italian operas—Bellini and Donizetti • German Romantic operas—Weber Gioacchino Rossini (1792–1868) • best know for his opera buffa – crisp, elegant style, not far from Mozart – Barber of Seville – but admired equally for serious operas • established style and form of Italian Romantic opera – bel canto style—glorifies beautiful singing – full of coloratura arias for virtuoso singers • gave up opera entirely in 1829! Gaetano Donizetti (1797–1848) • dominated bel canto opera after Rossini – preferred simple, sentimental arias – lots of blood-and-thunder “action” music – most famous was Lucia di Lammermoor • enormously prolific—more than 60 operas • also wrote opera buffa – Don Pasquale, L’elisir d’amore Vincenzo Bellini (1801–1835) • preferred serious, tragic bel canto • wrote in refined, elegant, melodic style – influenced Chopin’s nocturnes – admired by Verdi – more Romantic than Rossini or Donizetti • Norma his most famous work Carl Maria von Weber (1786–1826) • founder of German Romantic opera • Der Freischütz – like a German folktale or ballad put to music – nature and the supernatural – mix of spiritual Romantic arias, folk-song choruses, and devilish conjuration – orchestra plays significant role in establishing mood and telling story Verdi and Italian Opera • greatest Romantic Italian opera composer • unswerving commitment to human voice – adhered to bel canto principles – wrote increasingly beautiful melodies • but Verdi cared most about drama – real people, realistic situations, strong emotions, and exciting action Giuseppe Verdi (1813–1901) • son of small town storekeeper in north Italy • scored first hit at age 29—Nabucco • gained fame with three 1850s operas – Rigoletto, Il trovatore, and La traviata • supported Italian liberation movement • coaxed out of retirement for last two operas • all Italy mourned his death at age 88 The Role of the Orchestra • richer role than in previous Italian opera – Verdi accompanies plot action and dialogue with full orchestra – more active and excited as it supports voices – especially expanded role in recitative Verdian Recitative and Aria • “recitative” no longer apt – highly dramatic action music – verges on full-fledged melody • arias – formally complete and distinct – often use simple strophic forms – exuberant Romantic melody – rich harmonies to underpin high points Verdi, Aida • written for new Cairo opera house • one of the most frequently performed operas – gorgeous arias and duets – grandiose stage display – exotic setting – red-blooded, human drama Characters • Radames: Egyptian general in love with Aida • Amneris: Egyptian princess in love with Radames • Aida: Ethiopian slave (actually Ethiopian princess) The Plot • tragic love triangle in time of war • Radames tricked into revealing battle plans to Aida – Amneris discovers their tryst and turns him in as a traitor – Aida escapes in the confusion • Amneris offers to save Radames – He would rather die than live without Aida – Amneris has doomed the man she loves • Radames sentenced to be buried alive Verdi, Aida, Tomb Scene • opera’s final scene • striking stage set – below, Radames’ tomb – above, temple with altar and colossal statues • Radames discovers Aida in the tomb – she hid there to die with him • builds from recitative to arioso to duet Verdi, Aida, Tomb Scene • recitative begins as simple declamation – each one builds to intense melodic climax – rich orchestral and harmonic support • ariosos more concise and tunelike – orchestra more subdued, subservient Verdi, Aida, Tomb Scene • duet is an ecstatic farewell to Earth – above, Amneris prays – priests and priestesses sing hymn to Ptah – love seems to transcend death • exquisite orchestral colors and harmonies Verdi, Aida, Tomb Scene
