17th Century Opera in France and England

Opera in France

á          There were performances of Italian opera in Paris in 1640Õs

á          The French had problems with Italian opera:

á          anti-Mazarin sentiment during Fronde;

á          French / Italian competition

á          French sensibilities and tastes

á          Jean-Baptiste Lully (1632-87) born Giovanni Battista Lulli

á          developed French version of opera called tragŽdie-lyrique, genre to glorify the King:

á          he developed an arioso style that wouldnÕt disturb drama too much

á          Lully very strict with orchestra: they were highly polished and accomplished

á          Lully also developed the French Overture: similar to overture found in Rome, more or less based on it.  It has two main parts:

á          slow and stately; upper strings all move together in chordal texture (some independence in bass voice); lots of dotted rhythms are characteristic, extreme elongation of long notes; also often chains of suspensions (although not in this example); PLAY CHAIN OF SUSPENSIONS ON PIANO

á          second section begins with one voice (e.g. first vlns) playing short theme, imitated by others like a fugue until whole orch. is playing.

á          often a return (brief) of opening slow idea, then second section (fast-slow) is repeated.  Whole pattern is

                                                                        || slow ||: fast - reprise of slow :||

á          French opera was very different from Italian

á          very dignified, formal, as was everything about Louis XIVÕs court

á          operas were very serious

á          chorus remained important as it had not in Italy

á          lots of ballet

á          special vocal style to emphasize rather than detract from text

á          Lully had monopoly on opera production in France

Opera in England

á          Similar to the French approach: started with the Masque as point of departure

á          Masque remained popular in England until the Civil War, when monarchy was abolished (1649)

á          During the Commonwealth (1649-60), Charles II was in exile at Versailles, liked works of Lully; so some new directions taken in England (used techniques of tragŽdie-lyrique).

á          English didnÕt like recitative, so usually used spoken dialogue

á          Two composers are important in early English (true) opera: John Blow (1649-1708) and Henry Purcell (1659-95)

á          Blow wrote Venus and Adonis (1685)

á          Henry Purcell wrote one bona fide opera (Dido), and lots of other music for theater: six semi-operas (principals donÕt sing), incidental music for 44 plays (overtures, dances, curtain tunes, songs)

á          Semi-Opera (very similar to regular opera but principal characters donÕt sing)

á          Best-known Semi-opera is The Fairy Queen (1692), loose adaptation of A Midsummer NightÕs Dream.

á          Opera: Dido and Aeneas (1689)

á          Some disagreement about original purpose of this opera

á          Story is of Dido and Aeneas, takes place after fall of Troy.