Chapter 56

Opera in Italy: Rossini and

Verdi

Italian 19th-Century Opera

• More closely linked to 18th-century operatic traditions than its German counterpart (specifically Wagner’s music).

• Leading Italian composers expanded upon traditional operatic forms based on musical numbers of aria, duet, ensemble, and chorus.

• Italian librettos adhered to familiar subjects as the intention of the Italian opera composer was to please the audience.

Gioachino Rossini

• Most successful of the early 19th-century Italian composers of opera.

• Brought the various strands of Italian opera of the early 19th century into a classic form that was maintained by composers for nearly a 100 years, his successors being:

– Vincenzo Bellini (1801-1835)– Gaetano Donizetti (1797-1848)– Giacomo Puccini (1858-1924)

The Life of Gioachino Rossini (1792–1868)

• 1792 born in Pesaro, Italy; attends conservatory in Bologna.

• 1815 begins career as opera composer at age 18.

• 1816 composes The Barber of Seville.

• 1824 moves to Paris.

• 1829 retires from the stage, travels between France and Italy.

• 1868 dies in a Paris suburb.

Principal Compositions by Gioachino Rossini

• Operas (39) (selected):– Tancredi– L’italiana in Algeri (The Italian in Algiers)– Il barbiere di Siviglia (The Barber of Seville)– La gazza ladra (The Thieving Magpie)– Semiramide– Le Comte Ory (Count Ory, French)– Guillaume Tell (William Tell, French)

• Choral: pieces include Masses, Stabat mater

The Barber of Seville

• Comic opera

• Characters are similar to those in Mozart’s Marriage of Figaro since both operas are based on Beaumarchais’ play.

• It is strictly a numbers opera in that it consists of musically self-contained pieces (arias, ensemble, and choruses) and separated by simple recitative.

• First number of Act I (following the overture) is preceded by a special operatic piece called an introduction in ABA’ form. [Both Mozart’s Magic Flute and Don Giovanni begin with similar introductions].

• The middle B section is a cavatina (an entrance aria) filled with overblown sentimentality.

• This is followed by section A’ which consists of a stretta (climactic final passage) and ends with the trademark Rossini crescendo (a series of crescendos that coincide with repetition of phrases, thickening orchestration, and quick harmonic motion).

Principal Characters in Rossini’s

The Barber of Seville• Count Almaviva (tenor)

– the hero, a young count visiting Seville, smitten by Rosina

• Rosina (soprano, originally mezzo-soprano) – a young woman living in Seville

• Dr. Bartolo (bass) – a doctor, guardian of Rosina

• Figaro (baritone) – a local barber

• Basilio (bass) – Rosina’s music teacher

Scene from the “Barber of Seville”

Cartoon Version of Barber of Seville

Gioachino Rossini, The Barber of Seville, 1816, Act 1, No. 1

(Introduzione)

Rounded Binary form

Giuseppe Verdi

• Rossini’s spirit is very much alive in Verdi’s operas as Verdi continues to expand the basic forms inherited from Rossini.

• Makes the marriage of the music and drama ever more intimate.

• Verdi modernizes modern opera by making opera:– a more realistic drama– bringing advances in orchestration and

harmony which influence the later 19th century.

The Life of Giuseppe Verdi (1813–1901)

• 1813 - born in village of Roncole in Italy, attends school in nearby Busseto.

• 1832 - Milan to study, but soon returns to Busseto.

• 1839 - moves again to Milan to advance operatic career; Oberto performed at La Scala.

• 1842 - Nabucco scores first great success and begins period of travel.

• 1853 - moves to Paris.

• 1887 - comes out of 34-year retirement to compose Otello and Falstaff.

• 1901 - dies in Milan.

Principal Compositions by Giuseppe Verdi

• Operas include– Nabucco – Ernani– Luisa Miller– Rigoletto– Il trovatore– La traviata– Simon Boccanegra– Un ballo in maschera– La forza del destino– Don Carlos (versions in French and Italian)– Aida– Otello– Falstaff

• Chorus: works include the Requiem and Four Sacred Pieces

Verdi’s Otello

• Aspects of Rossini’s numbers opera are still visible in Otello, but are not as free-standing divisions – they are connected without pause by interludes that push the story forward.

• Interludes are complex– consisting of quick alternation of solo singing,

ensemble, chorus, and recitation.

• Verdi’s later works tend to diminish the importance of the large opera as principal means of expression– replacing it with duets and choruses.

• The dramatic role of the orchestra is also increased – by the capacity to vividly depict images and

emotions.

Principal Characters in Verdi’s Otello

• Otello (Othello, tenor) – a Moorish general commanding troops in

Cyprus

• Iago (baritone) and Cassio (tenor) – Othello’s officers

• Desdemona (soprano) – Othello’s wife

• Emilia (mezzo-soprano) – Desdemona’s servant, wife of Iago

Scene from Verdi’s “Otello”

Giuseppe Verdi, Otello, 1887, Act 4, scene 3 (Murder Scene)

Through-composed form