G1WA1

Foundations of Western Art Music

TOPIC 5 – Opera vs. Oratorio

Opera
• Opera is a complex art form that has been central to
Western Art music since the “invention” of Opera at the
end of the 16th century.
• Opera is a genre that combines many different art forms:
the libretto (text), set design and costumes, music
(composition and orchestration - the art of assigning parts
to different instruments to achieve certain effects), the
singing and acting of the performers.
• It consists of solo airs, duets, ensembles and dances as
well as orchestral numbers.

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Opera
• There are many types of Opera:
➢ Opera seria (serious, noble Opera)
➢ Opera buffa (comic opera)
➢ Bel Canto opera (Italian style Romantic opera). Bel canto means
beautiful singing.
➢ Singspiel (German light opera). Singspiel is German for sing-play
and is characterized by incorporating spoken dialogue.
➢ Wagner’s Music Drama (Gesamtkunstwerk)
➢ National Opera Styles (numerous national styles of opera,
e.g. Russian, Czech, Spanish, etc…).

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Ancient Greece
• Music was an inseparable part of sacred ceremonies and secular
routine and celebration (e.g. religious rites, weddings, sports and
accompanying oarsmen and soldiers on their way to battle).
• The “Karnea” in ancient Sparta was the first music competition.
• The connection between music, theatre and poetry was of major
significance. Masterpieces of ancient Greek literature and Ancient
Tragedies were preserved due to music.
• The ancient Greeks started calling notes by letter names of the
alphabet.
• They discovered that if one played particular sequences of notes
up and down, the combinations created certain moods (hence,
“modes”).

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Ancient Greece
• Modes are what preceded “keys” in the western art music
tradition.
• In Greek mythology, music had a divine origin: its earliest
practitioner was the God Apollo.
• For the Greeks, music possessed ethos - the power to influence its
hearers’ emotions, morals and behaviour. Music could inspire,
encourage or help people relax and through this assist in healing.
• This is celebrated in the myth of Orpheus and Eurydice. It is the
ultimate tragic love story and one of the most famous Greek
myths which inspired many important painters (e.g. Peter Paul
Rubens and Nicolas Poussin) and was very popular with
composers.

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The Beginnings of Opera
• “Dafne” by Jacopo Peri was the earliest composition considered
an opera (the score is unfortunately lost) and was written around
1597, largely inspired by an elite circle of literate Florentine
humanists who gathered as the “Camerata de’ Bardi” (Florentine
Camerata).
• The Florentine Camerata (Camerata de' Bardi) was a group of
humanists, musicians, poets and intellectuals in late Renaissance
Florence who gathered to discuss trends in the arts and to try and
revive the Greek dramatic style. The activity of the Camerata
reached its height between 1577 and 1582.
• The Camerata's musical experiments led to the development of
the stile recitativo, which was vital to the subsequent
development of opera.

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The Beginnings of Opera
• The first operas were intended as entertainment for the courts (the nobility),
but the first commercial opera house opened in Venice in 1637.
• At the time of Monteverdi’s death, just six years later, there were nineteen
opera houses in Venice.
• This marked the beginning of the great Italian opera heritage, which reached its
zenith in the late romantic period with composers such as Verdi and Puccini.
• Opera quickly spread from Italy throughout Europe during the Baroque period.
• During the Baroque period, composers began to write operas in other
languages than Italian.
• Composers soon began to explore different textures, sound colours and
structure.
• Opera developed into one of the main compositional styles.
• Nationalism became a key feature in opera.
• The majority of the great composers wrote operas. The most notable
exceptions are: J. S. Bach, Chopin, Brahms.

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The Teatro Argentina is
an opera house and theatre
located in Largo di Torre
Argentina, a square in Rome,
Italy. One of the oldest theatres
in Rome, it was constructed in
1731 and inaugurated on 31
January
1732 with Berenice by Domenico
Sarro. It is built over part of the
curia section of the Theatre of
Pompey

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The Myth of Orpheus:
Orpheus was taught to play the lyre by Apollo, and was so skilled at singing that
he could charm wild animals. In their quest after the Golden Fleece, Orpheus
saved the Argonauts from shipwreck by singing more beautifully than the
seductive Sirens. Orpheus fell in love with Eurydice, but while celebrating their
wedding, she was bitten by a snake and died.
Orpheus travelled to Hades (using his musical gifts on the way to overcome
various obstacles) and with his singing persuaded the King of the Dead to be
allowed take his wife back home with him, but on one condition: that he does
not turn around to look at her until they leave the underworld.
Almost at the end of their journey back to the world of the living Orpheus felt
that Eurydice was slipping away from him... He turned around and looked at
Eurydice, and she was lost to him forever.
➢ Over 50 operas have been composed to this story (including works by
Monteverdi, Lully, Telemann, Gluck and Offenbach)
➢ The very first opera ever composed (by Jacopo Peri) was called Euridice, and
the first opera that is in current standard performance repertoire is Orpheus by
Monteverdi

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Claudio Giovanni Antonio Monteverdi
1567-1643
• Italian composer, gambist, singer and Catholic priest.
• Regarded as revolutionary and composed music that was pivotal in
the shift from the Renaissance style of music to the Baroque style.
• Monteverdi composed both secular and sacred music.
• A large amount of his compositions, including stage works, have
been lost.
• He worked exteworksnsively in the traditions of early Renaissance
polyphony (e.g. Madrigals) but also undertook great development
in form and melody and even began to use the basso contiuo
technique.
• He published his first at the age of 15
• His prolific compositional output includes Vespro della Beata and
the operas L’Orfeo and L’incoronazione di Poppea.

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 The Recitative
• A Recitative is a movement (not an independent work) where the text is
recited/sung, using the rhythm of the text over a bass line that provides
simple harmonic support. The bass line was notated as a Figured Bass and
played by a continuo group.
• Recitative are through-composed (not in any musical form).
• As the text is the most important element of a recitative, the texture is
always homophonic.
• Recitatives are central to operas, oratorios, and cantatas.
• There are two types of recitative:
➢ recitativo secco (dry, accompanied only by continuo)
➢ recitativo accompagnato (accompanied by the orchestra)
• Tu se' morta from Monteverdi’s Orfeo, is an example of a recitativo secco
• Monteverdi uses word painting (listen carefully to the music at the word
morta (death), the passage più profondi abissi (to the deepest abysses).

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 The Oratorio
• The Oratorio is a setting of a biblical story for soloists and choir with
orchestra. No costumes or scenery is required making it easier to stage
compared to opera.
• In the late Baroque, Oratorios increasingly became “sacred opera”.
• During the second half of the 17th Century, there were trends toward
the secularisation of the religious Oratorio. Evidence of this lies in its
regular performance outside church halls in courts and public theatres
• Changes eventually took place as well, possibly because most
composers of Oratorios were also popular composers of Operas. They
began to publish the librettos of their Oratorios as they did for their
Operas. Strong emphasis was soon placed on arias while the use of the
choir diminished
• Even though the popularities of Oratorios diminished, they never
completely disappeared. Some famous composers of Oratorios include
Bach, Mozart, Beethoven, Haydn, Mendelssohn, Elgar, Stravinsky and
Shostakovich

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George Friedrich Handel
1685-1759
• Born in Saxony, Germany, in the same year as J. S. Bach and D. Scarlatti
• Best known for his English-style oratorios and Italian-style operas
• Handel developed an interest in Opera when he moved to Hamburg at
the age of 18. Hamburg, unlike his hometown of Halle, had an Opera
theatre and was culturally diverse due to its busy port
• Handel composed his first operas in Hamburg. They were somewhat
successful, but none of them have survived
• He spent the next four years living and working in Italy where he
assimilated elements of the Italian style and composed two Italian operas
(the first of which was not successful, but the second - Agrippina -
brought him fame and invitations to accept work from around Europe).
The Italian style remained a feature of his writing, that is especially
evident in his vocal works
• In 1710 Handel became Kapellmeister to King George of Hanover, but
soon left for England on service leave (he never returned, except to visit)
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 The Messiah
• At its premiere performance in Dublin in 1741, the Messiah was
advertised as a “sacred entertainment”.
• Tells the story of the birth of Christ. The work is traditionally
performed at Christmas.
• It contains the Hallelujah chorus, and is Handel’s most famous work.
• Unlike Bach, Handel often used “unstable texture” (i.e. shifting
rapidly from homophonic to polyphonic texture) to achieve a
greater effect. This is clearly seen in the excerpt below.
• Handel often recycled his operatic arias and instrumental music, as
well as “borrowed” music by other composers for arias and
choruses in his Oratorios. Even the Messiah contains some
“borrowed” music
• Handel’s compositional output includes 42 operas, 27 oratorios, and
a large amount of cantatas, concertos and sonata. Handel is also
famous for his music for the royal fireworks, water music, and the
coronation anthem.
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 Opera in the Classical Period
• Music in the classical period is exemplified by its emphasis on formal
order, clarity and balance. A key composer of Opera during the this period
was Mozart.
• Mozart composed 22 operas over his 35 years. The music in his operas is
deceptively simple, but underneath that lies a strong current of innovation.
• Mozart didn't just write operas - he enhanced the genre as a whole. His
new techniques brought opera at the time to new levels of musical
sophistication and emotional depth, letting the music express the drama.
• But music wasn't the only way he developed this genre. The dramatic plots
and realistic, human characters of his works were very novel for the time.
• The Mozart operas haven't left the performance repertory since the era he
wrote them.
• Mozart wrote in different styles of opera, depending on the era of his life.
In his later operas he deftly combines two or more styles, demonstrating
that he was one of the greatest operatic innovators.

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Wolgang Amadeus Mozart
1751-1791
Baptised as Johannes Chrysostomus Wolgangus Theophilius Mozart
•Born in Salzburg, Austria.
•His father, Leopold Mozart was a violinist and teacher. He
published a famous method of violin playing. He was also a
minor composer and conductor.
•Mozart was a child prodigy. He was able to perform and
improvise on the piano from an early age.
•Leopold Mozart organised tours of Europe for both his children
(Wolfgang’s sister was also a prodigy) and they played for the
monarchs of Europe and the Pope.
•Through these tours, Mozart (the son) came into contact with
all the leading musicians of the time (e.g. J. C. Bach in London)
as well as all the current musical styles, which shaped him as a
composer.
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 Aria
• In opera and aria is a set-piece song for a solo singer in
which the character expresses an emotion or ideal that
doesn’t necessarily drive the story forward.

• Arias can also be found in Oratorios and Cantatas.

• One of the most famous aria is the “Queen of the

Night” from “The Magic Flute” by Mozart (and an
example of Singspiel).

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Don Giovanni
• Don Giovanni is an opera in two acts, with a libretto by Lorenzo
Da Ponte based on the legend of Don Juan
• It combines elements of Opera Buffa and Opera Seria
• It was premiered in Prague in 1787 with Mozart finishing the
overture the day before the premiere
• Don Giovanni is considered one of the greatest operas and is
still one of the most-performed operas today
• Don Giovanni, a young, arrogant, and sexually promiscuous
nobleman, abuses and outrages everyone else in the cast until
he encounters something he cannot kill, beat up, dodge, or
outwit. This is the dramatic finale of the opera, when Don
Giovanni is confronted by the statue of the Commendatore,
but refuses to repent and is taken to Hell by the demons.

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Opera in the Romantic Period
• In the Romantic period Opera began to be associated with
political developments and nationalism: eg. Verdi in Italy;
Wagner in Germany. The libretto/narrative began to reflect
nationalist views. Composers write the libretto in their
language Wagner (German), Verdi (Italian), Bizet (French),
Dvořák (Czech).
• Giacomo Puccini (1858 - 1924) has become synonymous with
opera. His operas are performed regularly in opera houses
today including La Bohème, Madame Butterfly, and
Turandot.
• Nessun Dorma (None shall sleep) is an aria from the final act
of the opera Turandot by Puccini and an example of Bel
Canto.

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Giuseppe Verdi
1813-1901
Verdi’s music has been called the epitome of Romantic drama
and passion. (Grout) His name was strongly associated with
the nationalist movement for a united Italy and formed the
acronym for their slogan, Viva Verdi! (to represent long live
the king, Victor Emmanuel)

Verdi is famous for his operas which are still favourites today
including Rigoletto (1851), La Traviata (1853) and Aida
(1871). Verdi’s operas remain popular, with many of the
melodies he created known outside of opera.

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Richard Wagner
1833-1897
Richard Wagner was one of the great
musical innovators of the Romantic period
and influenced the course of music.

Wagner actively promoted his views on

music, literature, politics and religion in a
number of publications and articles.

The harmonic language of his late operas in

particular Tristan und Isolde was a step
towards the dissolution of tonality.

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Gesamtkunstwerk
Leitmotiv
Wagner called his operas “Gesamtkunstwerk” or “Total Artwork”. They were
music dramas where the narrative was paramount. All sections of the “artwork”
including the orchestra, staging, instrumentation, costumes, singing, lighting
supported the story or narrative.

Wagner used a compositional technique known as Leitmotiv, where he used

musical motives to link the story and characters. Thematic material reflects
characters (Isolde and Tristan have their own motives that entwine in the prelude),
emotions (Tristan and Isolde have a “love” theme that recurs in the Liebestod)
and it can also represent an object (The Ring in the ring cycle) or scenery. This
concept has been taken on by film composer such as Star Wars or Superman
where John Williams deliberately utilised Wagner’s compositional techniques.

Wagner does not use the Recitative/Aria /Chorus forms in his music dramas.
Instead, they contain a continuous flow of music. The leitmotivs provide the
structure of the music and support the action on stage.
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Bayreuth
A purpose built opera venue for • Orchestral pit
Wagner’s Music Dramas • Curved inside
Built by King Ludwig of Bavaria for • Wooden for acoustics
Wagner. • Staging

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The Ring Cycle – Music Drama
The Ring of the Nibelungen (1848–1874)
I – Das Rheingold (The Rhinegold)
II – Die Walküre (The Valkyrie)
III – Siegfried
IV – Götterdämerung (Twilight of the Gods)
• The four operas or “The Ring” constitute a cycle and are meant to be
performed during a single week
• Wagner spent 26 years (from 1848 to 1874 writing the text and
composing music for this all-encompassing work.
• The Ring Cycle includes the famous work the Ride of the Valkyrie.

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Tristan Chord
Tristan und Isolde (1857-1859)
Isoldes Liebestod is the final dramatic music to the opera
“Tristan und Islde”. Isolde sings over Tristans dead body and the
dissonant chord (Tristan chord- F-B-D#-G#) finally resolves.
The chord previously in the opera does not “resolve” to prolong
unresolved tension and to reflect the unresolved situation of
Isolde and Tristan. In the Liebestod, we hear many of the
leitmotives contained throughout the opera. The unresolved
“Tristan chord” is considered to be one of the early moves away
from “traditional harmony”

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Opera in the 20th century
On of the most obvious stylistic developments in opera in the 20th
century is the development of atonality. The following is an
example from Alban Berg’s opera Wozzeck. Note the use of
Sprechgesang – a dramatic vocalization of speech and song.
Alban Berg 1885 – 1935
Austrian composer of the Second Viennes School - consists of
Arnold Schoenberg and his pupils Alban Berg and Anton Weber.
The group focused on total chromatic expressionsm (atonal
music). First Viennes School consists of Hyden, Mozart and
Beethoven.
Berg combines lyricism from the Romantic period with the twelve-
tone technique (this will be further discussed in lecture 8).
Wozzeck completed in 1922 and was first performed in 1925. It is
considered to be one of the centuries most important works.

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Opera in the 20th century
Opera also mixed other styles such as minimalism, pop and Jazz. The
following example is an excerpt from Kurt Weill’s Threepenny Opera –
described as an opera for beggars, a satire on traditional opera creating a
new kind of musical theater. The song Mack the Knife has been adapted
and arranged by numerous artists including Bobby Darin, Louis
Armstrong, Frank Sinatra, Ella Fitzgerald with Duke Elington, Michael
Buble and Robbie Williams.
Kurt Weill 1900 – 1950
• German composer who is best known for his stage works in
collaboration with Bertolt Brecht.
• Weill studied with Humperdinck and Busoni.
• In 1993 Weill fled Nazi Germany to first live in Paris and later New
York.
• Weill composed music ranging form symphonies to opera to tangos,
jazz songs and pop hits. Weill bridged the gap from serious to light
music.
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 Listening list

➢ Wolfgang Amadeus Mozart – Don Giovanni,

K. 527, Gia la mensa e preparata (Finale)

➢ Giuseppe Verdi – Rigoletto, La donna mobile

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