Understanding Opera: Key Components Explained
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Franz ThereUnderstanding Opera: Key Components Explained
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Franz ThereOPERA
OPERA denotes a theatrical work consisting of a dramatic text, or libretto, that
is set to music and staged with scenery, costumes, and movement.
It is made up of vocal pieces with instrumental accompaniment and usually
with orchestral overtures and interludes. In some operas the music is
continuous throughout an act; in others it is broken up into discrete pieces, or
“numbers,” separated either by recitative or by spoken dialogue.
The numbers include ballets, choruses, ensemble pieces for soloists and
chorus, ''concerted numbers'' (duets, trios, quartets, quintets, sextets, sung by
the main characters), and, most important and most frequent, solo arias.
Wagner used the term ''music drama'' for his operas which he composed as
one continuous flow of music rather than as a chain of separate pieces.
COMPONENTS OF OPERA
LIBRETTO. The text of an opera is called the libretto. The libretto is sometimes
adapted from a novel or drama; most often it is specially written for a
particular composer ( e.g. by de Ponte for Mozart) and sometimes, though less
often, it is created by the composer himself (Wagner).
OUVERTURE. The instrumental composition which serves as an introduction to
the opera is called an ouverture. (But it is also an independent instrumental
work.) In ouvertures, the composers are mainly concerned with presenting the
prevailing mood of the opera.
RECITATIVE. The recitative is sung dialogue, a dramatic type of singing that
approaches speech. Here the composer's interest is primarily in declamation, in
making the word intelligible rather than constructing a beautiful song. In
recitative the words are more important than the music.
ARIA. In contrast to the recitative, the aria is a song which poetically and
musically reflects the dramatic feeling rather than contributing to the dialogue
or the dramatic action.
DUO, TRIO AND OTHER SMALL ENSEMBLES. When two singers are engaged in
performing an aria it is called a duo (or duet); an aria for three is a trio; for four
a quartet, for five a quintet, and for six a sextet.
CHORUS. Operas which include scenes involving crowds of people make use of
large choral ensembles. ''The Triumfal chorus'' from Aida is an example of the
famous operatic chorus.
ORCHESTRA. A “pit,” or space (often below the level of the stage),
accommodates an orchestra. The role of the orchestra does not end with the
ouverture. It is heard by itself in instrumental interludes of various lenghts. In
some operas it provides merely the accompaniment to arias, recitatives,
choruses and dancing. In others it plays a more significat role by bringing
continuity and excitement to the action, portraying characters, and creating the
emotional atmosphere of a scene. The orchestra occupies an especially
prominent position in Wagner's operas.
BALLET: Dances of a formal and stylized nature are not infrequently introduced
into opera as interludes not essential to the plot. Ballet is particularly important
in French opera.
ACTS AND SCENES. Opera, like drama, is customarily divided into main sections,
or acts. They are usually subdivided into shorter sections or scenes.
LEITMOTIF. In some operas, especially those by Wagner, a device known as
leitmotif (leading motive) is employed. It is a theme used recurrently
throughout the opera to represent a character, an object, or a situation. An
example of a letmotif is the ''love motive'' in Tristan and Isolde.
