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opera retry 1 Flashcards

1
Q

*talk about strophic variation in l’orfeo, provide an example and talk about it

A
  • vary repetitions of strophic form, to reflect elements of the text
  • elements could be accentuation
  • elements could be meaning of text
  • could vary the durations of harmonies for example
  • possente spirto is an example
  • important aria
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2
Q

*talk about an important recitative from the opera l’orfeo, by monteverdi

A
  • tu se’morta
  • more lyric and expressive for that time
  • bitter feelings are expressed by the dissonances
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3
Q

coronation of poppea

*coronation of poppea, basic facts

A
  • writen near the end of monte life
  • about an affair with roman emperor nero
  • considered his masterpiece
  • lacks varied instrumentation of orfeo, due to constraints of the court
  • depicts human character
  • depicts human passions
  • styles change frequently to express the changing feelings,
  • dissonances happen when poppea pleads with nerone
  • aria styles with ritornellos, often in triple time, for declarations of love
  • passages that lie somewhere between recitative and aria style, often called recitative arioso.
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4
Q

*where did the first comic operas happen

A
  • where did the first comic operas happen

- rome in 1620

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5
Q

*describe comic opera in its earliest stages

A
  • describe comic opera in its earliest stages
  • light subjects
  • spoken dialogue
  • simple musical forms
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6
Q

*the most prolific librettist from rome 1620, and an example, with composer

A
  • rospigliosi
  • sant alessio
  • set to music by landi
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7
Q

*general characteristics from rome in 1620

A
  • spectacular stage effects
  • two distinct types of solo music
  • recitative and aria
  • recitatives more speechlike than peri and monteverdi
  • arias became more melodious and strophic
  • more melodious than tu se’morta, for example
  • vocal ensembles were common
  • castrati
  • -they took female roles
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8
Q

first opera house

A
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9
Q

*general characteristics of venetion opera in the 17th century

A
  • plots had wide range of emotions
  • dramatic conflicts
  • striking stage effects
  • number of arias increased
  • arias more melodious
  • arias didn’t follow the text declamation
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10
Q

*who were the leading venetian opera composers

A
  • cavalli

- c’esti

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11
Q

*when was the first opera house opened in venice? how many more opened by the end of the century

A
  • 1637

- nine more

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12
Q

cavalli and c’esti

A
  • most celebrated opera of cavalli, and the first opera, and a later opera
  • giasone
  • first is the wedding of peleus and thetis
  • a later opera is ercole amante
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13
Q

*talk about cavalli

A

-arias exemplify the lyric style
-lived 1602-1676
-italian
-smaller orchestra than monteverdi
-melodious arias
-sometimes grotesque humor
-wrote 41 operas
-

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14
Q

*Talk about an opera written by C’esti

A
  • orontea
  • 1656
  • most frequently performed of the sevententh century (one of the most i shouldl say)
  • epitomizes the changes made
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15
Q

expansion of italian opera after 1650

A
  • when and where were opera houses established outside of venice
  • 1650’s
  • naples
  • florence
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16
Q

*list genres that had influence on early opera

A
  • ancient greek dramas
  • morality plays
  • miracle plays
  • ballet
  • pastoral dramas
  • courtly dances
  • intermedios
  • liturgical dramas
  • madrigal cycles
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17
Q

*talk about the florentine camerata

A

-this type of monody practiced in early 17th centuries, most influential on peri and caccini, though i would guess that it ultimately influenced later composers like monteverdi in some ways. Monteverdi featured monody in his works, along with other genres.

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18
Q

*define intermedio

A
  • musical interlude performed between acts of a play,
  • influenced early opera
  • usually linked by a common theme
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19
Q

*what are subjects of intermedio

A
  • allegorical
  • pastoral
  • mythological
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20
Q

*why were intermedios initially used?

A

-renaissance theatres lacked curtains, they needed a way to divide different moments of the play from one another.

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21
Q

*how many intermedios were there, usually, over the course of a play

A

-usually there were six, performed before and after 5 acts

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22
Q

*early composer that set out to recreate ancient greek dramas in the way they believed they were originally performed, not caccini or peri. Who sponsored these people?

A
  • rinuccini

- bardi sponsored them

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23
Q

*one of the first operas sponsored by bardi, and performed in 1598

A
  • peri and rinnucini worked together
  • rinnucini was a poet
  • dafne
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24
Q

*a contemporary of peri, this guy produced a morality play, why was it significant and what was it called, who was this person

A
  • cavalieri
  • representation of soul and the body
  • longest entirely musical stage work
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25
Q

*what is the first performance of the earliest surviving opera

A
  • peri

- l’euridice

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26
Q

*who else wrote an setting of the pastoral drama libretto, for l’euridice, distinguishing features also

A
  • caccini

- lyrical

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27
Q

*significant ballet written by caccini, when was it written, describe it’s significance and relation to opera

A
  • the liberation of ruggiero from the island of alcina
  • written 1625
  • opening sinfonia, common with opera
  • prologue
  • recitatives
  • arias
  • choruses
  • instrumental ritornellos
  • elaborate staging
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28
Q

*talk about peri and recitative

A
  • peri invented recitative style
  • continuos and diastematic singing of ancient greeks
  • combined the two
  • imitates speech
  • consonance with the bass on stressed syllables
  • compatible with modern practice, also compatible with greek style
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29
Q

*why is monteverdi important as an opera compoers, and general info

A
  • gave opera a place in history
  • first widely known opera composer
  • late 16th, early 17th
  • stile concitato
  • rapid repetition of single note
  • wrote only vocal works
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30
Q

*attributes of the compositional style of monteverdi

A
  • music suited the text
  • combined many styles
  • contrasts between the styles, shaped the music and drama
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31
Q

*three works that he wrote monteverdi

A
  • l’orfeo
  • l’arianna
  • the return of ulysses
  • the coronation of poppea
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32
Q

talk about l’orfeo

A

talk about l’orfeo

  • basic facts of l’orfeo
  • first opera by monteverdi
  • librettist was striggio
  • larger and more varied group of instruments than peri
  • wider range of styles than peri, these reflect the moods.
  • these differences could organize the sections of the music.
  • used strophic variation, vary repetitions to reflect aspects of text
  • only a fraction survives,
  • 1607 production
  • elaborate construction
  • recitative is more varied than peri
  • in addition to monody, monteverdi used
  • -dances
  • –ensemble madrigals
  • —ballettos
  • —-range of contrasting styles reflects changeing moods
  • story is tragic, many contrasts in mood
  • instrumentation reflects the drama as well,
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33
Q

*example of a madrigal cycle (and the composer)

A
  • slopes of parnassas,

- vecchi

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34
Q

*how did madrigals influence early opera

A
  • some madrigals were miniature dramas
  • called madrigal cycles, or madrigal comedies
  • succession of madrigals that were linked together through the text
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35
Q

*what is the first pastoral poem to be staged, who is it by

A
  • by angelo poliziano
  • called favola d’orfeo
  • made in 1471
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36
Q

*general features of pastoral drama

A
  • play in verse
  • music interspersed
  • songs interspersed
  • rural settings
  • rustic youths
  • maidens
  • mythological figures
  • nostalgia for classical antiquity
  • yearning for unattainable earthly paradise
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37
Q

*which ancient greek writers, featured music in their plays, and what is the name of an example of this,

A
  • euripides
  • sophocles
  • Choruses
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38
Q

*what are predominantly the themes of early opear

A

-greek tragedy

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39
Q

*basic ideas of enlightenment reform

A
  • design was more natural
  • flexible in structure
  • more expressive
  • less ornamented with coloratura
  • more varied in musical resources
  • less emphasis on da capo aria
  • more flexible alternation between recitative and aria
  • greater use of accompanied recitatives
  • greater use of ensembles
  • singers part of larger purpose
  • less emphasis on the vocalist as an individual
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40
Q

*Who wrote something that influenced enlightenment ideas, what was it, describe it

A
  • algarotti

- essay on the opera

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41
Q

*who wer two important figures in the enlightenment reform?

A
  • jommelli

- traetta

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42
Q

*how did early opera composers construct opera from intermedios

A
  • reconstructed the music to allow for dialogue
  • drama
  • stories
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43
Q

*what was the aim of early opera by peri and caccini

A

-to recreate in modern terms, the legitimate experience of ancient greek tragedy

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44
Q

*some say early opera is a blend of genres, which genres?

A
  • plays
  • theatrical spectacles
  • dance
  • madrigals
  • solo song
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45
Q

*what types of opera did gluck compose?

A
  • italian

- french

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46
Q

*what city did gluck achieve success in?

A

-vienna

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47
Q

*features of glucks compositional style

A
  • synthesis of french, italian and german operatic styles
  • recitatives, arias and choruses mingled in large unified scenes.
  • less time between recitative and aria
  • don’t want to make the singer stop mid sentence or mid thought, would seem unnatural
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48
Q

*opera by hasse

A

-cleofide

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49
Q

*when did gluck live?

A

-18th century

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50
Q

*libretist that worked with gluck, two operas that they produced together

A
  • calzabigi
  • orfeo and euridice
  • alceste
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51
Q

*aims of glucks reform ideas

A
  • operas more simple
  • more natural
  • achieved through libretto
  • achieved through style of music
  • remove abuses that had deformed italian opera
  • music should serve the poetry
  • advance the plot
  • make the overture an integral part of the opera
  • lessen the contrast between recitative and aria
  • beautiful simplicity
  • less vanity
  • more natural staging
  • including lighting
  • more natural acting
  • singers to act realistic and natural
52
Q

*who was influenced by gluck (3 people)

A
  • cherubini
  • spontini
  • berlioz
53
Q

*nationality of hasse

A

-german

54
Q

*when was hasse successufl

A

-1720s-1770s

55
Q

*what genre was hasse a great master of?

A

-opera seria

56
Q

*who wrote librettos for hasse?

A

-metastasio

57
Q

*when did gluck live?

A

-18th century

58
Q

*in what ways do the ramea operas resemble the operas of lully

A

-recitative mixed with tuneful formally organised airs, choruses and instrumental interludes.
-long divertissements
-

59
Q

*in what ways do the rameau operas differ from lully

A
  • notions of harmony
  • triadic phrases
  • harmonic progression clear
60
Q

*features of the style of rameau

A
  • recitative and air share more similarities
  • novel orchestration help depict events in the opera
  • dissonance as dramatic force
  • chromatic progressions
  • clear harmony
  • triadic phrases
  • long divertissements
  • recitative mixed with tuneful formally organized airs,
  • -choruses
  • –instrumental interludes
  • realistic declamation
  • -precice rhythmic notation of recitative
  • influenced by lully
61
Q

*when did rameau live

A

-1683-1764

62
Q

**list four operas written by rameau

A
  • hippolyte et aricie
  • les indes galantes
  • castor et pollux
  • zoroastre
63
Q

*what was the most important opera by rameau?

A

-zoroastre

64
Q

*who did rameau use as an example, in describing his harmonic theory

A

-corelli

65
Q

*what genres did rameau write in?

A

-tragedie, and stage works

66
Q

*describe audience reaction to rameau

A
  • too influenced by italian styles, preferred lully who was more distinctly french.
  • after 1750, they turned against the old ways and he was more successful.
67
Q

*did spain develop it’s own national style of opera? when did it premiere

A
  • yes

- a spanish opera modeled on the early florentine operas was presented at a spanish royal court in 1627

68
Q

*who is a famous spanish playwright

A

-hidalgo

69
Q

*what is the genre developed by hidalgo, and who helped him? how influential was this genre and for how long?

A
  • zarzuela
  • calderon helped
  • this genre was the predominant spanish genre for several centuries.
70
Q

*what was the most succesful genre of purcell?

A

-dramatic works

71
Q

*who is the most important librettist of opera seria

A

-metastasio

72
Q

*elements of the metastasio opera seria

A
  • conflicts of human emotions
  • piting love against duty
  • ancient greek tales
  • latin tales
  • elightenment thought
73
Q

*General characteristics of opera seria (early classic)

A
  • renewed interest in views of drama found by aristotle/classical writers led librettists to purge comic elements from serious opera.
  • intermezzos were included, to provide comic relief
  • two or three intermezzos included
  • generally in 3 acts
  • alternating recitative and aria
  • simple and accompanied recitative
  • arias are dramatic soliquey, expresses feelings, reacts to a scene
  • virtuosic soloists
  • castrati
  • importance of aria
  • separation of aria and recitative
  • da capo aria
  • arias of the first half of the century, displayed one mood
  • exception, a differing idea could be implemented in the b section.
  • after 1720s 30s, composers displayed a succession of moods, through many procedures
  • intermezzos featured to allow for comic relief,
74
Q

*who is famous for his intermezzos, and what is an example

A
  • pergolesi

- the maid as mistress

75
Q

*features of the court ballet, and composer associated with them

A
  • french genre
  • lully
  • staged
  • costumes
  • scenery
  • members of the court participated
  • several acts
  • each act composed of a series of entries
  • entries included solo songs
  • entries included choruses
  • entries included instrumental dances
  • style of these genres suited the characters.
76
Q

*general characteristics of opera from the early classical period

A
  • value on beauty of the melody
  • ability of the music to portray complex characters
  • value of music to portray rapidly changing characters
77
Q

*general characteristics from comic opera of the early classical period

A
  • when comic elements purged from serious opera, comic opera was allowed to appeal to a broader audience.
  • more innovations were allowed
  • full length work with sex or more singing characters
  • singing throughout
  • ordinary people
  • arias were in the galant style
  • short phrases
  • tuneful
  • simple harmonies
  • organized into periods
  • midcentury, the comic opera changed
  • allowed woeful and serious plots
  • ensemble finale
  • all characters sing at the end of an act, reaching during the classic period, comic opera took different forms in different countries.
78
Q

*leading french opera composer from the classical period, and a piece he wrote, as well as the genre of that piece

A
  • gretry
  • richard the lion
  • french opera comique
79
Q

*talk about the aria in voler cio che tu brami

A
  • from opera la griselda
  • by scarlatti
  • rich contrasts
  • a section shows two sides of griseldas character
  • 1st is dignity and strength
  • 2nd is tenderness and love
  • the b section adamantly insists that she will never stop loving him
  • coherence and variety
80
Q

*what are the best operas of Scarlatti

A
  • La Rosaura

- Pirro e Demetrio

81
Q

*most important scarlatti features of opera

A
  • da capo aria

- overture (fast slow fast format)

82
Q

*when was english ballad opera popular? when did it peak?

A
  • during the classical period

- peaked in 1730

83
Q

*general distinguishing features of ballad opera

A
  • spoken dialogue
  • interspersed with songs
  • these songs set new words to borrowed tunes
  • folk songs, and dances
  • as it developed, new music added
  • mimicked opera comique
84
Q

*representative ballad opera and composer, arranger

A
  • john gay
  • the beggars opera
  • music arranged by pepusch
85
Q
  • talk about german opera
A
  • produced since the 17th century
  • some composed in the 18th century
  • style of italian
  • with some french and native elements
86
Q

*talk about singspiel

A
  • more popular than opera
  • spoken dialogue
  • musical numbers
  • comic plot
  • earliest in 1710
  • -in vienna
  • a principal composer was hiller
  • -from 1760’s
87
Q

*Ballad operas in germany

A
  • poets in northern germany adapted some english ballad operas into german
  • after 1750’s, germans provided new music for them.
88
Q
  • when did enlightenment reform take place?
A

-1750’s

89
Q

*basic ideas of enlightenment reform

A
  • design was more natural
  • flexible in structure
  • more expressive
  • less ornamented with coloratura
  • more varied in musical resources
  • less emphasis on da capo aria
  • more flexible alternation between recitative and aria
  • greater use of accompanied recitatives
  • greater use of ensembles
  • singers part of larger purpose
  • less emphasis on the vocalist as an individual
90
Q

*describe in detail, the way that the action progressed in handel’s most popular operas

A
  • through dialogue
  • dialogue progressed through 2 types of recitative
  • these two types are from italian opera of the 18th century.
  • dry/accompanied recitative=accompanied only by basso continuo
  • speechlike as possible
  • other type is accompanied recitative,
  • orchestral outbursts to dramatize the tense situations.
  • help express rapid change of emotion
91
Q

*what did he pattern the overtures and the dances after (handel)

A

-french styles

92
Q

*an example of how handel blended national styles

A
  • set the recitative in German, and the arias in Italian,

- so the audience could follow the plot.

93
Q

*when did handel live?

A

-1685-1759

94
Q

*name two operas by handel, and which of these was the first opera that he wrote

A
  • the first opera that handel wrote, is almira

- another opera is Giulio Cesare

95
Q

*describe arias of handel’s opera

A
  • wide variety of aria types
  • brilliant coloratura, ornamentation
  • contrasted with the slow, suspended pathetic types
96
Q

*describe the english masque

A
  • had instrumental music,
  • dancing
  • songs
  • choruses
  • costumes
  • scenery
  • stage machinery
  • more akin to rench court ballets
  • triumph of peace is one example
  • with music by william lawes
97
Q

*nationality, and location of lully

A

-italian, but lived in france

98
Q

*what did lully foster?

A

-the modern orchestra

99
Q

*when did lully create the tragedie lyrique

A

-1670s

100
Q

*how long did the tragedie lyrique last?

A

-over a century

101
Q

*what academy did lully establish?

A

-academie royale de musique

102
Q

*composer from 17th century that wrote comedies ballets

A

-lully

103
Q

*features of the comedies ballets

A

-blended ballet and opera

104
Q

*Talk about don giovanni

A
  • nobility in opera seria style
  • commoners in opera buffa style
  • duplicitous character of don giovanni travels from one to the other,
  • dark subject
  • mozart uses multiple styles in Don Giovanni, the person that chases someone sings in opera seria style, but a person that observes the chase, hiding, comments in opera buffa style
  • unusual for someone to die in opera buffa, this is characteristic of late style of comic opera, which allows for serious events like this.
  • don giovanni delves deeply into a persons character and personality
105
Q

*what are two operas written by mozart in his later years

A
  • the magic flute

- the mercy of titus

106
Q

*talk about style of mozart, including opera buffa

A

-style of mozart (personality)His music projected personalities, and moods
-characteristics of mozarts late opera buffa
Librettos deal with everyday people, not greek mythology
two lovers, and interactions with people around them

107
Q

*english opera of the 17th century

A

-at first, it was done in private, public performances were not allowed

108
Q

*describe early english opera

A
  • it was not opera in the italian sense
  • mixture of elements from spoken drama, and the masque
  • dances
  • songs
  • recitatives
  • choruses
109
Q

*only 17th century masque whose music survives complete, and descbie it

A
  • cupid and death
  • music by matthew locke
  • music by christopher gibbons
110
Q

*why did opera take a while to take hold in France?

A
  • French preferred ballet

- language not conducive

111
Q

*what genre influenced french opera?

A

-italian opera

112
Q

*distinguishing features conventions of french opera from the beginning

A
  • notes inegales
  • agrements=ornaments
  • propaganda of the french court
  • -choruses singing praises to the king
  • french overtures,
  • in french, ornaments were more likely to be written out, in italian they were more improvised.
  • association with ballet,
113
Q

*what’s the name of mozarts famous singspiel in english?

A

-the abduction from the seraglio

114
Q

*list of topics to include about Mozart

A
  • when he lived
  • style of mozart (personality)
  • characteristics of mozarts late opera buffa
  • first opera buffa
  • his best work of opera seria
  • his most famous singspiel
  • another italian comic opera, (thus do all women)
  • librettos by ponte
  • marriage of figaro
  • don giovanni
  • later works
  • mozart mimicks old styles
115
Q

*talk about Idomeneo

A
  • 1781
  • best opera seria of mozart
  • dramatic and pictoral music
  • accompanied recitative
  • conspicuous use of chorus and
  • inclusion of spectacular scenes
  • shows reformist tendencies
  • shows influence of french opera
116
Q

*describe librettos by ponte. Which composer used them

A
  • mozart
  • gave great depth to the characters
  • addressed social tensions
117
Q

*talk about marriage of figaro

A

-exchanges between nobility and commoners
-they thought it was risque
-

118
Q

*features of italian opera from the middle of the seventeenth century

A
  • solo singing rather than ensembles, and instruments
  • seperation of recitative and aria
  • use of varied styles
  • poetry is servant of the music
  • more interested in visual elements, scenery costumes,
  • focus on arias,
  • focus on the stars
119
Q

L orfeo outline

A

Facts. Peri form. Style. 4333

120
Q

Glucks aims chart

A

7 2. Style form

121
Q

Comic early class outline

A

Facts. Style. Form. 422

122
Q

Comic early class outline

A

Facts. Style. Form. 422

123
Q

Court ballet outline

A

Facts. Form. Style. 831

124
Q

Out of rameau style

A

Style form orchestra. 731

125
Q

Opera seria early classic

A

Form. Style. Facts. 431

126
Q

Opera seria early classic

A

Form. Style. Facts. 431

oral comp (4 decks)

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