Italian Opera in the Early 19^th Century

In first few decades of 19th century, Italian opera was ready for change, but first Rossini would bring the old style to its culmination

· Gioacchino Rossini (1792-1868) called himself a classicist

· From a musical family, sang in choir from an early age; by 12 was accompanying operas on piano and singing; wrote first opera at 14

· Achieved great early success: first performance at La Scala by age 20; produced 32 operas by age 30 (and a few more after that); wrote both serious and comic, but best known for comic ones

· His operas continued the conventions of Neapolitan opera (plot twists and comic disruptions, plot lines of the older style)

· Rossini had many strengths:

· rhythm as a dramatic device

· clean orchestration

· comic use of ensembles

· great overtures

· Form is like sonata allegro but with slow intro, no development

· Rossini Crescendo: repeat short motive several times, add more instruments each time so it gets louder, builds excitement

· Barber of Seville (1816): Rossini’s masterpiece.

· Vocal sections have similar structure to overtures: slow intro, faster main section (which might not mirror sonata allegro as closely as overture), faster coda or ornamented ending.

· Finales in Rossini continued ensemble finale tradition; finale of act I is the epitome of this concept

· Barber of Seville and other operas of Rossini are the culmination of the 18th Century Neapolitan opera tradition as opposed to being a forward-looking example. Rossini’s William Tell might be considered forward looking for an Italian, but it isn’t the Italian tradition, in fact not even in Italian. This is a French Grand Opera in that tradition: vocal solos are simplified to French Tastes, large chorus numbers added, ballets, and programmatic overture, which he hadn't used before. Even this isn’t forward looking for Rossini because he quit writing after this.

· Gaetano Donizetti (1797-1848). The “Manufacturer of Operas”

· Very prolific: in addition to ~70 operas, also wrote chamber and orchestral works, church music. Just a few operas are still performed: Comedies: Elixer of Love (1832), Daughter of the Regiment (1840), Don Pasquale (1843); serious operas: Lucia d' Lammermoor (1835), Lucrezia Borgia (1839). Donizetti very interested in English history, e.g. wrote several operas on English historical subjects and characters (Anne Bolyn, Mary Queen of Scots; Lucia is based on a story by Sir Walter Scott)

· Form in Donizetti:

· Sometimes accused of “writing to formula.” Formula is Cantabile-Cabaletta: form was really established by Rossini; Bellini, Donizetti and Verdi (in his early works) also used it. Scenes or vocal solos are in several sections:

· 1) orchestral statement; 2) vocal statement; 3) orchestral or orch + choral interlude; 4) literal repetition of vocal solo; 5) piu mosso coda. Final section is called cabaletta; usually rapid, audience-rousing tempo intended to that portion of plot to a climax. Structure can extend over protracted period.

· Verdi used the term "Cavatina opera" to refer to operas using this approach

· Examples can be found in many operas, e.g. Elixir of Love

· Donizetti also famous for writing "Mad Scenes" where female character has melt-down; example from Lucia Di Lammermoor (1835)

· Donizetti attempted to blur distinction between aria and recit

· Vincenzo Bellini (1801-35): Wrote almost exclusively opera, all serious. Died age 34, small output of 9 operas

· Bellini worked slowly, very particular about librettos; strong commitment to the “perfect union of words and music.”

· Known for beautiful arching melodies; Bel Canto is often used to describe them. Bel Canto: manner of singing emphasizing beauty of sound, even tone, fine legato, mastery of breath control, agility, ease in high notes. Heyday is Mid 17^th to early 19^th Centuries

· Bellini started a “romantic revolution” in Italian opera by emphasizing powerful emotions and acute suffering, e.g. Il Pirata (1827)

· Bellini’s masterpiece is Norma (1831)

· Contains great examples of bel canto, extraordinarily dramatic scenes

· Giuseppe Verdi (1813-1901)

· Unlike other composers in that he wasn’t a child prodigy, had a hard time getting started. Rejected at Milan Conservatory, couldn’t get church job; had to beg a harpsichordist at La Scala to take him as student; soon started writing operas.

· Early years: Risorgimento (grass-roots movement toward a unified Italy) was very strong in 1840’s, ending with suppression of movement in 1848. Unification movement went into opera, especially operas of Verdi

· Rigoletto and Il Trovatore were vehicles for Risorgimento: there were censors regulating theaters; unification activity had to be disguised a bit. These 2 operas (plus La Traviata) are the culmination of Verdi’s early career. These are “action dramas,” contain violent acts: murder, torture etc. These will lead toward Versimo opera by end of century.

· Many of the early operas had themes of oppressed people rising up and claiming freedom, or presented political leader in unflattering way, e.g. Nabucco: was about King Nebuchadnezzar of Babylonia and enslaved Israelites. Struck a chord with Italian public; opera contains a chorus that became unofficial national anthem for Italy

· Another main theme in Verdi’s early operas was “domestic tragedy,” culminating with La Traviata (Venice 1853), a psychological drama. Classic story based on Dumas’ La Dame aux Camellias.

· Verdi used real-life subjects and people; most are tragedies.