Chapter 17:Romantic Opera

Verdi and

Italian Opera

Key Terms

Italian opera

Verdian recitative, aria, and ensemble

Exoticism

Arioso

Verdi and Italian Opera

Greatest Romantic Italian opera composer•Dominated 19th century opera houses

Unswerving commitment to human voice•Opera was about singing•Adhered to Italian bel canto principles•Wrote increasingly beautiful melodies

But Verdi cared most about the drama•Real people in realistic situations that elicit

strong emotions & exciting actions

Giuseppe Verdi(1813-1901)

Son of north Italian small town storekeeper

Scored first hit at age 29 with Nabucco•Hebrew slave hymn echoed Italy’s “captivity”

Three 1850s operas brought him fame•Rigoletto, Il trovatore, & La traviata

Coaxed out of retirement for last 2 operas•Shakesperean subjects – Otello & Falstaff

All Italy mourned his death at age 88•Schools closed, 300,000 saw him to his grave

Recitative and Aria:The Orchestra (1)

Orchestra plays richer role in Verdi than in previous Italian opera•More active & excited as it supports voices•Expanded role in recitative especially

Italian opera kept old recitative/aria split•Recitative for dialogue & action•Aria for reflective, emotional expression

Verdi now accompanies plot action & dialogue with full orchestra

Recitative and Aria:The Orchestra (2)

“Recitative” no longer an apt name•Not at all like Baroque or Classical recitative•Highly dramatic action music•Verges on becoming full-fledged melody

Arias now equally dramatic & exuberant•But formally complete & distinct •Often use simple strophic forms•Orchestra’s role somewhat more subdued here•Use of rich harmonies to underpin high points•e.g., “La donna è mobile” from Rigoletto

Verdi, Aida

One of the most frequently performed of all operas•Features gorgeous arias & duets•Grandiose stage display, including elephants•Exotic locale in ancient Egypt•But a red-blooded, human drama

Written for new Cairo opera house•At time of the Suez Canal opening in 1869•Cairo première in 1871

Background (1)

Tragic love triangle in time of warEgyptian general Radames is secretly in love with Ethiopian slave Aida•Aida is actually daughter to Ethiopia’s king•Egyptian princess Amneris loves Radames

Radames is tricked into revealing his battle plans to Aida•Amneris discovers their tryst•She turns him over to the priests as a traitor•Aida escapes in the confusion

Background (2)

Amneris offers to save Radames if…•But he would rather die than live without Aida•She realizes she has doomed the man she

loves…but too late

Radames makes no defense at his trial•One of the opera’s most dramatic scenes•Priests sentence him to be buried alive in a

tomb under the temple, sealed by a huge stone

Verdi, Aida Tomb Scene (1)

Striking stage set for opera’s final scene•Below, Radames’ tomb•Above, a temple with altar & colossal statues

As Radames laments his fate, he discovers Aida in the tomb with him•She hid there, not wanting to live without him

Builds from recitative to arioso to duetRecitatives begins as simple declamation•Each one builds to intense, melodic climax•Rich, dramatic orchestral & harmonic support

Verdi, Aida Tomb Scene (2)

Ariosos more concise & tunelike•Orchestra more subdued, subservient

Their duet is an ecstatic farewell to earth•Above, Amneris prays that they rest in peace•Priests & priestesses sing hymn to Ptah

Verdi, Aida Tomb Scene (3)

Their gorgeous duet ends the opera•Exquisite orchestral colors & harmonies•Their ecstatic love seems to transcend death•Set against Amneris’ grief & priests’ hymn