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    10 A Baroque Opera

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    Caleb Nihira
    The document provides an overview of Baroque vocal music and opera. It discusses key terms like opera seria, libretto, recitative, and aria. It describes how opera flourished in the Baroque era as an emotional art form combining music, theater, and elaborate staging. Specifically, it outlines the characteristics of opera seria, including solo singing, alternating recitative and aria, and stirring powerful emotions. It also summarizes the different types of recitative and aria, as well as the roles of castrati singers. Finally, it provides an example from Handel's opera Julius Caesar, describing an aria about vengeance.

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    10 A Baroque Opera

    Uploaded by

    Caleb Nihira
    214 views14 pages
    The document provides an overview of Baroque vocal music and opera. It discusses key terms like opera seria, libretto, recitative, and aria. It describes how opera flourished in the Baroque era as an emotional art form combining music, theater, and elaborate staging. Specifically, it outlines the characteristics of opera seria, including solo singing, alternating recitative and aria, and stirring powerful emotions. It also summarizes the different types of recitative and aria, as well as the roles of castrati singers. Finally, it provides an example from Handel's opera Julius Caesar, describing an aria about vengeance.

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    10 a Baroque Opera

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    The document provides an overview of Baroque vocal music and opera. It discusses key terms like opera seria, libretto, recitative, and aria. It describes how opera flourished in the Baroque era as an emotional art form combining music, theater, and elaborate staging. Specifically, it outlines the characteristics of opera seria, including solo singing, alternating recitative and aria, and stirring powerful emotions. It also summarizes the different types of recitative and aria, as well as the roles of castrati singers. Finally, it provides an example from Handel's opera Julius Caesar, describing an aria about vengeance.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PPT, PDF, TXT or read online from Scribd
    Download as ppt, pdf, or txt
    214 views14 pages

    10 A Baroque Opera

    Uploaded by

    Caleb Nihira
    The document provides an overview of Baroque vocal music and opera. It discusses key terms like opera seria, libretto, recitative, and aria. It describes how opera flourished in the Baroque era as an emotional art form combining music, theater, and elaborate staging. Specifically, it outlines the characteristics of opera seria, including solo singing, alternating recitative and aria, and stirring powerful emotions. It also summarizes the different types of recitative and aria, as well as the roles of castrati singers. Finally, it provides an example from Handel's opera Julius Caesar, describing an aria about vengeance.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PPT, PDF, TXT or read online from Scribd
    Download as ppt, pdf, or txt
    of 14

    Chapter 10: Baroque Vocal Music

    Opera

    Key Terms
    affect coloratura opera seria libretto recitative aria secco recitative accompanied recitative castrato, castrati da capo form

    Vocal Music in the Baroque Era


    always in demand for church, court, and theater theories of musical expression
    musical devices corresponding to affects a musical vocabulary of the emotions

    theories applied most consistently in vocal music

    Opera in the Baroque Era


    flourished in Europe after 1600
    reflected fascination with theater

    most spectacular and influential genre


    combination of many art forms elaborate stage sets

    intense emotional expression


    intricate plots, range of powerful emotions focus on virtuosity

    Opera Seria
    principal type of Baroque opera designed to stir powerful emotions
    tragic plots from history and mythology

    almost entirely solo singing libretto built from a series of brief texts
    alternating prose and poetic texts alternating recitative and aria

    Recitative
    characteristics
    musical declamation of words free rhythm of emotional speech instrumental accompaniment

    uses
    action or dialogue special emphasis on the words

    Types of Recitative
    secco recitative
    continuo accompaniment only maximum flexibility for singer

    accompanied recitative
    orchestra in addition to continuo greater weight and emphasis reserved for most excited, emotional moments

    Aria
    a set piece for solo singer and orchestra much more melodic and elaborate than recitative emotional reflection on action of the plot usually da capo form (A B A)
    repeat of A ornamented by singer

    Recitative vs. Aria


    Recitative free, speechlike rhythms pitches follow speech patterns continuo accompaniment prose text (words stated once) advances the action (movement) dialogue (free interaction) Aria clear beat, consistent meter pitches form melodic patterns and phrases orchestral accompaniment poetic text (phrases often repeated) freezes the action (reflection) soliloquy (expresses one emotion)

    Castrati
    singers castrated as boys to keep voices in soprano/alto range
    most worked in Italian churches years of intense vocal training

    biggest virtuoso stars in Italian opera


    sang most important male roles voices highly prized

    George Frideric Handel (16851759)


    born in Halle, near Liepzig began career in Hamburg opera orchestra success in Italy, 1706 court musician for elector of Hanover (later King George I) pursued career in London
    opera impresario later turned to oratorio

    Handel, Julius Caesar


    Italian opera for London theater historical fiction
    Cleopatra has seduced Julius Caesar. Her brother, Ptolemy, murders Pompey, Caesars enemy. Ptolemy forces Pompeys widow, Cornelia, into his harem. Sextus, Cornelias son, swears vengeance.

    Julius Caesar, La giustizia


    typical da capo aria (A B A) A sets mood of anger and revenge

    Bsubtle contrast return of Amany ornaments

    Julius Caesar, La giustizia


    La giustizia ha gi sull arco Pronto strale alla vendetta Per punire un traditor. 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!

    Quanto tarda la saetta Tanto pi crudele aspetta La sua pena un empio cor.

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