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Chapter 17: Romantic Opera Early Romantic Opera; Verdi and Italian Opera

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

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Chapter 17: Romantic Opera Early Romantic Opera; Verdi and Italian Opera

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  1. Chapter 17: Romantic OperaEarly Romantic Opera; Verdi and Italian Opera

  2. Key Terms • early Romantic opera • Italian opera • German opera • bel canto • exoticism • arioso

  3. 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

  4. 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

  5. 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!

  6. 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

  7. 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

  8. 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

  9. 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

  10. 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

  11. 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

  12. 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

  13. 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

  14. Characters • Radames: Egyptian general in love with Aida • Amneris: Egyptian princess in love with Radames • Aida: Ethiopian slave (actually Ethiopian princess)

  15. 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

  16. 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

  17. 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

  18. 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

  19. Verdi, Aida, Tomb Scene

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