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19th Cent Italian Opera

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Jon Gallagher

on 4 October 2012

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Transcript of 19th Cent Italian Opera

19th Century Italian Opera Eliza, Libby, and Jon Giaochino Rossini Vincenzo Bellini Guiseppe Verdi Style Traviata Early Life use of melody
subject matter
reminiscence motives
later works synopsis
realism operatic output
musical background
working method
success "When you sing Wagner, you are so carried away by the dramatic emotion, the action, and the scene that you do not have to think how to sing the words. That comes of itself. But in Bellini, you must always have a care for beauty of tone and correct emission."
- German Soprano Lilli Lehmann Career traveled to Milan in 1827
important operas include La Sonnambula and Norma
supported himself solely on his opera commissions
died at the age of 33
known as the "Swan of Catania" Norma libretto by Felice Romani
based on verse tragedy by Alexandre Soumet
role of Norma written for Giuditta Pasta
recitative, bel canto, chorus Early Life Early Life born in Pesaro, Italy
son of trumpet player and opera singer
studied violin, piano, and voice
enrolled in Bologna Conservatory in 1806
success by 21 with Tancredi and L'Italiana in Algeri
married Isabella Colbran in 1822
left Italy and retired to Paris at age 40 The Barber of Seville combines features of opera buffa with bel canto
17th century Seville
two acts
Count Almavia’s disguise as Lindoro with help of town barber, Figaro
Dr. Bartolo and Lindoro fight over Rosina
Rosina ends up with the Count when he reveals true self Classical Style today known for his comic operas
serious operas were popular during his time
blend of opera buffa and opera seria
clear phrases with fun rhythms and memorable melodies
music can be theatrically timed
no complex harmonic schemes
Rossini crescendo 1801 - 1835 born in Catania, Sicily
child prodigy; composed 5 pieces at 6 years old
studied at Naples coservatory
presented 3 operas to the public
worked with librettist Felice Romani Casta Diva
pg. 597 Norma 1792 - 1868 More intriguing scene structure
Story distributed throughout the act
New plot developments and changes of mood within aria and ensemble
Chorus, recitatives, solo arias, duets, and ensembles advance the plot
Scenes begin with instrumental intro and recitative section
Following aria consists of cantabile and cabaletta, with the tempo di mezzo between
Final act brings all characters together Scene Structure believed voice was the most important part
elegant sound
marked by lyrical, embellished, and florid sound
shows of beauty, agility, and fluency Bel Canto best known serious opera
written for Paris Opera in 1826
libretto based on Friedrich von Schiller’s Wilhelm Tell (1804)
folk hero who led rebellion
themes of heroism, revolution, and nationalism
in manner of French grand opera Guillaume Tell Overtures still performed outside over operas
two parts
fast section focuses on themes perfect curtain-raisers
most famous is Guillaume Tell overture
consists of four sections that portray scenes from opera 1813-1901 Act III, scena & duet story
scena (recitative)
tempo d'attacco (opening section)
slow cantabile
tempo di mezzo (dramatic middle section)
fast cabaletta
style Act III, scena and duet,
LA Opera, 2006 Traviata Sempre libera,
Anna Netrebko La donna è mobile Sung by Rosina
Conveyed through scene structure mentioned earlier
No opening recitative
Cantible broken into small phrases
Patter song when she swears out Dr. Bartolo
Switches to embellished chords and runs with vow to Lindoro
Switches again for Cabaletta which shows true nature
Claims she is passive and obedient, lyrical melody
But also a viper and trickster, sudden leaps work in buffo style Aria shows different sides of Rosina
Bel canto and comic description Una voce poco fa Follows the pattern of Rossini:
accompanied recitative
cantabile section
tempo di mezzo
chorus provides continuos action Rigoletto
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