chapter 7 the early baroque period opera. key terms opera recitative aria arioso chorus ground bass

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Chapter 7 The Early Baroque Period Opera

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Page 1: Chapter 7 The Early Baroque Period Opera. Key Terms Opera Recitative Aria Arioso Chorus Ground bass

Chapter 7The Early Baroque Period

Opera

Page 2: Chapter 7 The Early Baroque Period Opera. Key Terms Opera Recitative Aria Arioso Chorus Ground bass

Key Terms

Opera

Recitative

Aria

Arioso

Chorus

Ground bass

Page 3: Chapter 7 The Early Baroque Period Opera. Key Terms Opera Recitative Aria Arioso Chorus Ground bass

Opera

Most significant, popular Baroque genre

Started as court entertainment

1st public opera house in Venice (1637)

Ideal vehicle for emotional, theatrical quality of new solo vocal style

Appealed to all tastes with its mix of music, drama, poetry, dance, set design, and machinery (special effects)

Page 4: Chapter 7 The Early Baroque Period Opera. Key Terms Opera Recitative Aria Arioso Chorus Ground bass

Recitative

Technique for declaiming the words in a heightened, theatrical mannerSinger echoes what a good actor or orator does in highly emotional speechFor example, to express anger:•High, loud notes delivered rapidly

To express sadness:•Low, soft notes with slow, perhaps halting

delivery

Solo voice with continuo accompaniment

Page 5: Chapter 7 The Early Baroque Period Opera. Key Terms Opera Recitative Aria Arioso Chorus Ground bass

Aria

Italian word for “song”–for solo singer

Vocal part strongly melodic

Consistent, clear rhythm

Accompaniment often for full orchestra

An aria tends to focus on one emotion•Elements of music used methodically to

express that emotion

Melodies were often elaborate–written for virtuoso solo singers

Page 6: Chapter 7 The Early Baroque Period Opera. Key Terms Opera Recitative Aria Arioso Chorus Ground bass

Recitative vs. Aria

Free, speechlike rhythmsPitches follow patterns of speechContinuo accompanimentProse text (words stated once)Advances the action (movement)Dialogue–free interaction

Clear beat, consistent meterPitches form melodic patterns and phrasesOrchestral accompanimentPoetic text (phrases often repeated)Freezes the action (reflection)Soliloquy–expresses one emotion

Page 7: Chapter 7 The Early Baroque Period Opera. Key Terms Opera Recitative Aria Arioso Chorus Ground bass

Claudio Monteverdi(1567-1643)

The most dominant figure in music c. 1600

“The last great madrigalist and the first great opera composer”

The first great composer publicly attacked for being too radical

At music-loving Mantua court (1589-1612)•Wrote Orfeo, opera’s first masterpiece

Master at St. Mark’s, Venice (1613-1643)•Wrote Poppea for public opera house

Page 8: Chapter 7 The Early Baroque Period Opera. Key Terms Opera Recitative Aria Arioso Chorus Ground bass

Monteverdi, Coronation of Poppea

Startlingly cynical story

Poppea is mistress to Emperor Nero

Their love wins out—•But only after Poppea’s former lover is

banished, the Empress is set to sea, and Nero’s trusted adviser is forced to commit suicide

In the end, Poppea is crowned Empress of Rome

Page 9: Chapter 7 The Early Baroque Period Opera. Key Terms Opera Recitative Aria Arioso Chorus Ground bass

Coronation of Poppea Act I

Act I begins outside of Poppea’s houseNero’s guards grumble about standing watch all night while Nero’s having funPoppea’s former lover shows up only to discover that Poppea is now with NeroIn Poppea’s bedroom, Poppea and Nero sing a lingering farewell (recitative) After Nero goes to work, Poppea sings of her hopes and her ambition to become Empress (aria)

Page 10: Chapter 7 The Early Baroque Period Opera. Key Terms Opera Recitative Aria Arioso Chorus Ground bass

Coronation of Poppea from Act I, Recitative

Whether recitative or aria, always a vivid, fluid response to the words

Recitative—•Rhythm speeds up and slows down freely, as

dictated by the words and the dialogue•Short arioso (songlike) passages support

Nero’s attempts to flatter Poppea

Page 11: Chapter 7 The Early Baroque Period Opera. Key Terms Opera Recitative Aria Arioso Chorus Ground bass

Coronation of Poppea from Act I, Aria

Aria—A kind of victory dance in three sections

Recitative used in a moment of uncertainty

Energetic rhythms depict section 3’s battle

Page 12: Chapter 7 The Early Baroque Period Opera. Key Terms Opera Recitative Aria Arioso Chorus Ground bass

Henry Purcell(1659-1695)

Greatest English Baroque composer

Member of the Chapel Royal and organist at Westminster Abbey

Wrote sacred, instrumental, & theater music

Strongly influenced by French and Italian music

Wrote the first real English opera, Dido and Aeneas

Page 13: Chapter 7 The Early Baroque Period Opera. Key Terms Opera Recitative Aria Arioso Chorus Ground bass

Purcell, Dido and Aeneas

Story from Virgil’s epic poem, the Aeneid

After escaping from Troy and before founding Rome, Aeneas meets and falls in love with Queen Dido of Carthage

Malicious witches (a Shakespearean touch) make Aeneas believe that Jove has ordered him to continue his journey

Furious at his rejection, Dido spurns him

Dido commits suicide in the final scene

Page 14: Chapter 7 The Early Baroque Period Opera. Key Terms Opera Recitative Aria Arioso Chorus Ground bass

Dido and Aeneas Act III, final scene (1)

Recitative—•Dark, somber tone as she prepares to die•Mostly minor mode with chromaticism

Aria—• (See next slide)

Chorus—•Madrigal-like lament alternates imitation &

homophony, using some word painting

Page 15: Chapter 7 The Early Baroque Period Opera. Key Terms Opera Recitative Aria Arioso Chorus Ground bass

Dido and Aeneas Act III, final scene (2)

Aria—Ground bass aria built over sad, chromatic, descending bass line

Phrases repeated to extend this poignant, emotional tableau

Page 16: Chapter 7 The Early Baroque Period Opera. Key Terms Opera Recitative Aria Arioso Chorus Ground bass

Early Baroque Opera Conclusions

The most significant new Baroque genre

The most extravagant genre in the history of early music•Monumental size, lavish sets, mix of arts

Focus on human emotions made it deeply expressive

Rigid schemes (e.g., recitative, aria) used to organize plot and music

Ideal example of extravagance & control