STARTER ACTIVITY OPERA VERSUS ORATORIO

Transcription

1 THE TWO GREAT O S! STARTER ACTIVITY OPERA VERSUS ORATORIO Watch Video 1 which first shows a performance from an OPERA and then a performance of an ORATORIO. As you watch and listen, note down some similarities and differences between the two scenes from what you can see and hear using the boxes below. Scene 1 - Opera Scene 2 - Oratorio SIMILARITIES OPERA ORATORIO DIFFERENCES Learning Objectives Learn about Opera and Oratorio as two important large-scale vocal works and the similarities and differences between these two genres (AoS 5) Learn about the different vocal movements which make up an Opera and Oratorio (AoS 1, 2, 3, 4 & 5) Learn to follow a vocal score of a movement taken from an Opera (AoS 1, 2, 3, 4 & 5) Page 1 of 13

2 LEARNING ABOUT OPERA In the Italian city of Florence, during the late 1500 s, a group of composers and writers who called themselves the Camerata had come to believe that the elaborate weaving of polyphonic vocal music obscured the meaning of the words. The words, they felt, should always be more important than the music and the music should portray the mood or emotion of the words. And so they began to experiment with a simpler style on homophony a single vocal line, supported by an instrumental bass line upon which chords were constructed. This voice part rose and fell according to the meaning of the words. This style of halfsinging, half-reciting came to be known as RECITATIVE. The accompaniment was extremely simple. All the composer wrote down beneath the melody was a bass line to be played by a low string instrument, such as the cello. This was called the BASSO CONTINUO since it continued throughout the piece. But the composer expected another continuo player on harpsichord, organ or lute to build up chords upon the bass line and to fill in the harmonies. As these chords had to be improvised, much depended on the skill and musicianship of the player. Of course, the notes of the basso continuo provided clues and composers often wrote figures below the notes to indicate what chords were expected, called FIGURED BASS (shown left and note the instruction for 2 instruments). In 1597, these new ideas were applied to a full-length music-drama called an OPERA, the first of which was called Dafne, based, like many operas for the next two centuries, on an old Greek legend. The text of an opera is called the LIBRETTO, written by a LIBRETTIST and the plot or storyline is often called the SYNOPSIS. Other operas were composed and the idea became extremely popular. These early operas included brief choruses, dances and instrumental pieces in simple chordal style, involving a small orchestra. The long stretches of recitative, however, started to become monotonous and it was Claudio Monteverdi in 1607 with his opera Orfeo (the main character shown left with his Lyre), that is now called the first truly great opera. RECITATIVE or ARIA? Recitative became a particular concern of early Baroque composers, who valued it for its expressivity in the sense that the music supported and emphasised the words rather than obscured them. In Ofeo, Monteverdi (pictured left), sets the most affective moment in recitative and uses the ARIA (solo song) for less emotionally charged moments. To illustrate the difference between ARIA and RECITATIVE in early Baroque opera, listen to two examples from Monteverdi s Orfeo. Listen first to Vi ricorda o boschi ombrosi and then Tu se morta following the scores on the following pages. First, work out which excerpt is an example of Recitative and which is an Aria. Then, make some notes about the MELODY, HARMONY and RHYTHM in each extract, either in the table below on directly onto the scores. The Italian words have been transalated at the bottom of each of the scores. Extract 1 Vi ricorda o boschi ombrosi Extract 2 Tu se motra MELODY HARMONY RHYTHM Page 2 of 13

3 Extract 1 Vi ricorda o boschi ombrosi from Orfeo - Monteverdi Page 3 of 13

4 Extract 2 Tu se morta from Orfeo - Monteverdi Page 4 of 13

5 In the course of the seventeenth century, the ARIA became the more dominant element in Italian opera and with its rise the music importance of RECITATIVE declined. By the end of the century, two forms of recitative developed. RECITATIVE SECCO (dry recitative), where the word dry refers to the syllabic, non-expressive nature of this kind of setting. The spare texture and slow HARMONIC RHYTHM of the accompaniment allowed for the clear and rapid presentation of a large amount of text, which was often in prose rather than in poetic form. Recitative at this time had two functions. Musically, it serves as a means of MODULATION, allowing the composer to change key between on aria or chorus/ensemble and the next. Dramatically, it was used as narrative, active as the musical vehicle for most of the dialogue, allowing the action to move forward. This was in sharp contrast to the ARIA which was musically and dramatically static because the singer used it to take stock of events that had already taken place. RECITATIVE SECCO was accompanied by SUSTAINED CHORDS played only by CONTINUO instrument such as cello and harpsichord, or by staccato chords interpolated at rests in the vocal line. The other type of recitative was called RECITATIVE STROMENTATO and was accompanied by the strings of the orchestra. In early eighteenth-century opera, it was reserved for the most important characters at climatic moments in the drama. The two types of recitative can be seen side by side towards the end of Handel s opera Julius Caesar in Egypt, which dates from 1724 (a recent performance is shown right). Caesar s lover, Cleopatra, has been defeated in battle by Ptolemy, her brother and rival for the Egyptian throne. Languishing in prison with her handmaidens, the contemplates the fate that awaits her. A clash of arms is heard behind the scenes, but she continues to fear the worst. Suddenly, a band of soldiers enters headed by Caesar, who puts her guards to flight. Having earlier been convinced by reports of his death, Cleopatra at first does not recognise him, but soon the lovers embrace. They arrange to meet later at the port, and Caesar departs in pursuit of further military glory. The ecstatic Cleopatra then sings an ARIA. Listen to the recitative at the beginning of Act 3, Scene 7 of Julius Caesar in Egypt while following the score on the following page and answer the following questions: 1. What type of Recitative occurs after the orchestral introduction? 2. How can you tell this? 3. At what point in the music/score does the type of Recitative change? 4. To what type of Recitative does this change into? 5. How can you tell this? 6. Why do you think Handel chooses to change styles at this point? Page 5 of 13

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7 LEARNING ABOUT THE DA CAPO ARIA The ARIA that Cleopatra sings next is an example of the DA CAPO ARIA. This form originated in late seventeenth-century Italy, and its popularity grew as the vogue for Italian opera spread across most of Europe. By the early decades of the eighteenth-century, when Handel was at the height of his powers as an opera composer in London, it had become the standard aria form. The literal meaning of the Italian term DA CAPO is from the head or, as musicians might say today, from the top. Commonly abbreviated to D.C., it is an instruction at the end of a movement indicating that the whole or part of the first section is to be performed again. The Italian word FINE ( finish ) marks the point at which the repeat ends. The da capo sign was used as a convenient way of avoiding the labour of writing out the first section again. If the composer wanted the repeat of the first section to start later than the beginning of the piece e.g. after the instrumental ritornello, the starting-point was marked by a special sign (shown top right) and the shortened repeat was indicated by the Italian words DAL SEGNO ( from the sign ) or D.S. at the end of the B section. The literary text of a da capo aria was usually a poem in two strophes, which were set as separate musical sections, A and B. Because the first section is repeated, the formal layout is often symbolised as ABA. However, a more accurate representation of the form would be as a five-part structure, with the A section split into two: A A1 B A A1. By the 1720 s and 30 s a typical scheme for the A section had emerged in which each subdivision was interspersed with INSTUMENTAL RITORNELLO sections as follows: An instrumental introduction or Ritornello (R) with a perfect cadence in the tonic key A full setting of the first strophe (A) with harmonic movement from the tonic to dominant (in a minor key, the relative major was also a possibility) A further Ritornello in the new key, usually shorter than the first (R1) A second setting of the first strophe (A1), either beginning in the tonic or moving quickly back to it A final statement of the Ritornello in the new tonic (R2) The second section of a da capo aria (B) set the second strophe, usually once. It provided a HARMONIC CONTRAST by moving through several keys, studiously avoiding the tonic; it could also be more LIGHTLY SCORED, or even in a different METRE or TEMPO. Then came the recap of the first strophe and its music, which the singer was generally expected to vary with IMPROVISED ORNAMENTATION. So, the formal layout of the da capo aria can be summarised as: R A R1 A1 R2 B R A R1 A1 R2. Listen to Cleopatra s aria in Act 3, Scene 7 Da tempeste il legno infranto (When the ship, broken by storms). Follow the music of the score on the following pages as you listen. The piece is in da capo aria form and should conform to the scheme given above. As you listen a second time, map out its structure by writing R, A, R1, A1, R2 and B at appropriate places in the score. What musical characteristics distinguish the B section from its flanking outer parts? Page 7 of 13

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9 Above: A scene from Handel s opera Julius Caesar in Egypt (1724) showing Farinelli, Cuzzoni and Senesino (a castrato whom Handel wrote the role of Caesar for which is now normally sung by a alto or mezzo-soprano) taken from a performance around Left: Francesa Cuzzoni who sang the role of Cleopatra at the premiere of Julius Caesar in Egypt in February 1724 (and who is also shown performing above) Page 9 of 13

10 LEARNING ABOUT ORATORIO Born about the same time as opera was another important form of vocal music called ORATORIO. This took its name from St Philip Neri s Oratory ( hall of prayer ) in Rome, where the first oratorios were performed. At first, oratorios were very similar to operas. They were made up of RECITATIVES, ARIAS and CHORUSES and acted out with scenery and costumes. The main difference was that an oratorio was based on a SACRED story, usually taken from the Bible. In time, oratorios ceased to be acted and were given musical presentation only, in churches and concert halls rather than theatres. One of the greatest composers of oratorios was HANDEL (pictured left). Handel uses recitative to move the story along and arias for the more thoughtful, reflective moments. In some oratorios he gives great weight and importance to choruses which vividly describe the more dramatic events in the story. Handel wrote his most famous oratorio MESSIAH in 1741 for SATB choir and orchestra. The first performance of Messiah took place in a newly opened concert hall in Dublin. Now it is often performed in concert halls and churches and is popular with amateurs. Messiah has as its theme the central message of Christianity the birth, life and death of Jesus Christ (the Messiah). The words are taken from the prophecies in the Old Testament about the coming of the Messiah. The words were selected by the LIBRETTIST Charles Jennens. The whole work takes about three hours to perform, amazingly, Handel only took just over three weeks to compost it. The plan on the right shows the complete outline of the different vocal and instrumental numbers which make up MESSIAH. Look at this now and answer the questions below: 1. How many different parts make up Messiah? 2. What are the THREE main VOCAL forms which Handel uses in his oratorio Messiah? 3. Which three movements differ from the above musical forms? 4. Locate And the Glory of the Lord. What musical form is this work in? Where is this movement placed within the overall Oratorio? PART ONE 1. Sinfonia (Overture) 2. Recitative Comfort ye my people 3. Aria Ev ry valley shall be exalted 4. Chorus And the glory of the Lord 5. Recitative Thus saith the Lord 6. Aria But who may abide the day of his coming? 7. Chorus And he shall purify 8. Recitative Behold, a virgin shall conceive 9. Aria & Chorus O thou that tellest good tidings to Zion 10. Recitative For behold, darkness shall cover the earth 11. Aria The people that walked in darkness 12. Chorus For unto us a child is born 13. Pastoral Symphony 14.a Recitative There were shepherds abiding in the field 14.b Recitative And lo, the angel of the Lord came upon them 15. Recitative And the angel said unto them 16. Recitative And suddenly there was with the angel 17. Chorus Glory to God 18. Aria Rejoice, greatly, O daughter of Zion 19. Recitative Then shall the eyes of the blind 20. Aria He shall feed his flock 21. Chorus His yoke is easy, and his burthen light PART TWO 22. Chorus Behold the Lamb of God 23. Aria He was despised 24. Chorus Surely he hath borne our griefs 25. Chorus And with his stripes we are healed 26. Chorus All we like sheep have gone astray 27. Recitative All they that see him laugh him to score 28. Chorus He trusted in God 29. Recitative Thy rebuke hath broken his heart 30. Aria Behold, and see if there be any sorrow 31. Recitative He was cut off out of the land of the living 32. Aria But thou didst not leave his soul in hell 33. Chorus Lift up your heads, O ye gates 34. Recitative Unto which of the angels said he at any time 35. Chorus Let all the angels of God worship him 36. Aria Thou art gone up on high 37. Chorus The Lord gave the word 38. Aria How beautiful are the feet 39. Chorus Their sound is gone out 40. Aria Why do the nations so furiously rage together? 41. Chorus Let us break their bonds asunder 42. Recitative He that dwelleth in heaven 43. Aria Thou shalt break them 44. Chorus Hallelujah PART THREE 45. Aria I know that my redeemer liveth 46. Chorus Since by man came death 47. Recitative Behold, I tell you a mystery 48. Aria The trumpet shall sound 49. Recitative Then shall be brought to pass 50. Duet O death, where is thy sting? 51. Chorus But thanks be to God 52. Aria If God be for us 53. Chorus Worthy is the lamb that was slain Page 10 of 13

11 EXPLORING A CHORUS FROM AN ORATORIO And the Glory of the Lord from Messiah - Handel The whole of And the Glory of the Lord is built around four main MOTIFS. A MOTIF is a short distinctive melodic or rhythmic idea and is used as the basis for longer passages of music. Listen to the opening of the movement. The orchestral introduction is followed by Motif 1 and then is joined by Motif 2. What instruments can you hear performing in the introduction and accompanying the singers? MOTIF 1 And the Glo- -ry, the Glory of the Lord 1. What key is this motif in? 2. Which voice part (S, A, T or B) first sings this motif? 3. How would you describe the word setting of this motif? MOTIF 2 4. How would you describe the word setting on the word revealed? 5. The second full bar is a repeat of the first full bar but a tone lower. What is the musical name for this? 6. Handel often combines Motifs 1 and 2 together with different voice parts coming in at different times, overlapping and echoing each other. What is the musical name for this? The next two MOTIFS are then introduced. Listen to these motifs and answer the questions below. MOTIF 3 7. Which voice part (S, A, T or B) first sings this motif? Page 11 of 13

12 MOTIF 4 8. Which TWO voice parts first sing this motif? 9. What do you notice about the PITCH of this motif? 10. How does the DURATION of the notes differ with the previous 3 motifs? Listen to a number of extracts taken from the Chorus And the Glory of the Lord. As you listen, see if you can identify the TEXTURE in each extract as either HOMOPHONIC or POLYPHONIC writing your answers in the boxes below. EXTRACT 1 EXTRACT 2 EXTRACT 3 EXTRACT 4 EXTRACT 5 EXTRACT 7 EXTRACT 6 And the Glory of the Lord listening points The four motifs are heard in combination with each other motifs 1 and 2 are often paired together as are 3 and 4. Sometimes all four voices are heard together, sometimes there are only one, two or three parts. The melody is heard in different parts. Entries are often staggered the different parts come in one after another rather than together. The last four bars are preceded by a general pause where everyone stops singing and playing, these are marked Adagio (slow), ending with a Plagal Candence (IV-I) Page 12 of 13

13 PLENARY ORATORIO QUIZ You are going to hear six different musical extracts taken from Handel s Oratorio, Messiah. As you listen to each extract, decide which of the musical forms used in Oratorio best describes the music and which voice (or voices) you can hear singing. Extract 1 MUSICAL FORMS VOICE TYPE(S) Aria Recitative Chorus S A T B Extract 2 Extract 3 Extract 4 Extract 5 Extract 6 SELF ASSESSMENT KEY WORDS Aria, Chorus, Continuo, Da Capo Aria, Figured Bass, Harmonic Rhythm, Harmony, Homophonic, Imitation, Librettist, Libretto, Lighter Scoring, Melody, Modulation, Motif, Opera, Oratorio, Polyphonic, Recitative Secco, Recitative Stromentato, Recitative, Ritornello, Sacred, Secular, Synopsis, Texture I can identify an opera as a non-religious work and an oratorio as a religious work I know that operas and oratorios contain a mixture of recitatives, arias, choruses and instrumental numbers and identify these when listening I understand the similarities and differences between Opera and Oratorio I can identify different voice types and types of textures when listening to a range of vocal movements from operas and oratorios Know the history and development of Opera and Oratorio I can distinguish between different types of Recitative when listening I can follow a vocal score of a movement from an opera when listening including repeated sections of the Da Capo Aria Page 13 of 13