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.