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NSS Enriching Knowledge for Other Learning Experiences –

Aesthetic Development (1):

Learning to Appreciate Western Opera (New)

Speaker: Dr Oliver LO (盧思彥博士)

12 Nov 20092

Objectives

To strengthen teachers' understanding about Western opera and enhance their

skills in appreciating Western opera.

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Content• Development of Western opera• Genres of Western opera• Interrelationship between music and drama• Pedagogical skills for appreciation of Western

opera

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ContentI) Why Opera and what is Opera?II) Opera and MeIII) The “Invention” of OperaIV) Recitative, aria, duet, trio, soprano, tenor…V) BaroqueVI) Classical periodVII) Romantic Italian OperaVIII) Romantic German OperaIX) Romantic French OperaX) Opera and MusicalXI) OperettaXII) 20th Century and BeyondXIII) Opera and China

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I) Why Opera and

What is Opera?

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Why Opera?

Opera, as a multi-artwork, encourages the student to explore several different ways of communication:a. Wordsb. Musicc. Dramatic expressiond. Visual arts

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Opera, what is that?

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The official answer is:

A drama that is primarily sung, accompanied by instruments, and

presented theatrically

(Harvard Dictionary of Music)

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In other words...

A Musical Theatre

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You mean…Phantom of the Opera

is an opera?

Not really…Phantom is a Musical. It is actually a

“Mega Musical”, which is VERY similar to Opera, in terms of the musical and singing

style; and its lack of spoken dialogues.

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I’m confused...

Opera: A serious form of Musical Theatre

Musical: A popular form of Musical Theatre

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Serious vs. Popular

SeriousArtistic value > Commercial value

PopularCommercial value > Artistic value

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Cinderella

• 27 performances

• About 45000 tickets sold

• $20000000 revenue

Turandot

• 5 performances

• 8500 tickets sold

• $3000000 revenue

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Opera vs. Musical

OPERA• “Longer” (feels like…)

• Less “catchy”

• No amplification

MUSICAL• “Shorter” (feels like…)

• “Catchy”

• With amplification

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So, opera is SERIOUS, well, no wonder I don’t like it!

Well, opera can be boring because it’s more difficult for us to

enjoy (both music and text.)

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Then why are we here?

Because opera can be fun too, if we know what we are watching and

listening to…And the fulfillment can be even GREATER!

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Opera in North American (2002)(from http://www.operaamerica.org/)

• 6.6 million adults at least one opera performance.

• Opera attendance

• 1/4 of the audience ≤ 35 years old

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Statistics about Opera

North American opera companies in 20051. Box Office: $295 million dollars (37% of

total operating income)2. Private Support: $387 million (47% of the

total income)

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II) OPERA and Me

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Opera and Pop Culture

• Music for TV commercials

• Movie• Popular music• Cartoon

Picture of 'The Whale Who Wanted to Sing at the Methttp://www.cuckoocomics.com/animation_art/D_image/Willie.jpg

Charles Barkley’s Nike Commercial using Opera

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“Popera” group

Il Divo: Hallelujah

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Andrea Bocelli

Time to say goodbye

Choral version

Sarah Brightman

Crossover Singers

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“Nessun Dorma” (Nobody shall sleep) from Opera Turandot杜蘭朵公主 1926

• Sarah Brightman– Ex-wife of Andrew Lloyd Webber– The original Christine Daaé in The Phantom

of the Opera– Cross-over singer: Singing “Nessun Dorma”

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Illumina (Korean group)and Paul Potts

Paul Potts (Winner-1st Season of Britain’s Got Talent) and Illumina duet

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American Idol (1st season:2002)“Britain’s Got Talent” Series 1 Winner (2007)

Taiwan:《超級星光大道》(“One Million Star”, since 2007)

Hong Kong

《亞洲星光大道》 《超級巨聲》

(“Asian Millionstar”） (“The Voice”）

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• Movie: Bend It Like Beckham (2002) ; Chasing Liberty (2004); Man on Fire (2004)

• “Britain’s Got Talent” Series 1 Winner (2007): Paul Potts

• A “Horrible” version: Gregg Pritchard

“Nessun Dorma” (Nobody shall sleep) from Opera Turandot杜蘭朵公主 1926

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English Translation of “Nessun Dorma”

Prince Calaf: Nobody shall sleep!... Nobody shall sleep! Even you, o Princess, in your cold room, watch the stars, that tremble with love and with hope.But my secret is hidden within me, my name no one shall know... No!...No!... On your mouth I will tell it when the light shines.And my kiss will dissolve the silence that makes you mine!...

Chorus: No one will know his name and we must, alas, die.

Prince Calaf: Vanish, o night! Set, stars! Set, stars! At dawn, I will win! I will win! I will win!

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Comedian: Mom’s Overture

Mom’s Overture

Overture from Opera William Tell (1829) by Rossini

Dadsense

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Opera Le Nozze di Figaroby Mozart (The Marriage of Figaro, 1786)

The Shawshank Redemption 月黑高飛(1994 movie)

• Tim Robbins - Andy • Morgan Freeman – “Red”

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The monologue of “Red” (Morgan Freeman) from The Shawshank Redemption

I have no idea to this day what them two Italian ladies were singin' about. Truth is, I don't

want to know. Some things are best left unsaid. I like to think they

were singin' about something so beautiful it can't be expressed in

words, and makes your heart ache because of it.

I tell you, those voices soared. Higher and farther than anybody in a gray place dares to dream. It was

like some beautiful bird flapped into our drab little cage and made these walls dissolve away...and for

the briefest of moments -- every last man at Shawshank felt free.

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The Shawshank Redemption

• It has a scene describing the power of music (about 1 hour from the beginning)

• The music used in this scene was from Mozart’s opera The Marriage of Figaro, the title is “The Letter Duet” (“Sull’aria”) and it was sung by the Countess and Susanna in Act III

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SUSANNA: SUSANNA: "Sull'aria ... " "On the breeze ... " LA CONTESSA: ROSINA: "Che soave zeffiretto ... " "What a gentle zephyr ... " SUSANNA: SUSANNA: "Zeffiretto ... " "Zephyr ... " LA CONTESSA: ROSINA: "Questa sera spirerà ... " "Will whisper this evening ... " SUSANNA: SUSANNA: "Questa sera spirerà ... " "Will whisper this evening ... " LA CONTESSA: ROSINA: "Sotto i pini del boschetto." "Beneath the pines in the copse." SUSANNA: SUSANNA: "Sotto i pini ... " "Beneath the pines ..."? LA CONTESSA: ROSINA: "Sotto i pini del boschetto." "Beneath the pines in the copse." SUSANNA: SUSANNA: "Sotto i pini ... del boschetto ... " "Beneath the pines ... in the copse ... " LA CONTESSA: ROSINA: Ei già il resto capirà. And he'll understand the rest. SUSANNA: SUSANNA: Certo, certo il capirà. Oh, yes, certainly he'll understand it.

“The Letter Duet” (“Sull’aria”)

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La donna è mobile (Woman is fickle)from Verdi’s Rigoletto (1851)

• “The Doc” (EMH) in Star Trek: Voyager

“The Doc” Robert Picardo: http://en.wikipedia.org/wiki/Doctor_(Star_Trek)

*EMH = Emergency Medical Hologram

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La donna è mobile from Rigoletto[Woman is fickle]

• The East Village Opera Company (EVOC)

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Opera: La Traviata(The Fallen One) 茶花女 1853

Movie: Pretty woman (1990)

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“Habanera”from Bizet’s Carmen卡門 1875

• Hammerstein’s Musical version: Carmen Jones (Dat’s Love)

• Operatic Movie version with Julia Migenes and Domingo

• Pepsi Commercial: Beyoncé Giselle Knowles

• Sesame Street

• “Funky” version by Sui-man (Jim) Chim (a Hong Kong Stand-up Comedian) [詹瑞文:卡門（沖凍水涼版）]

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Habanera哈巴內拉舞(曲)

• An Afro-Cuban dance and song• Exotic dance• Use of sensual movements of the arms,

hips, head and eyes.

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L'amour est un oiseau rebelleLove is a rebellious bird

• ENGLISH TRANSLATION:Love is a rebellious bird that nobody can tame, and you call him quite in vain if it suits him not to come. Nothing helps, neither threat nor prayer. One man talks well, the other's mum; it's the other one that I prefer. He's silent but I like his looks. Love! Love! Love! Love! Love is a gypsy's child, it has never, ever, known a law; love me not, then I love you; if I love you, you'd best beware! etc. The bird you thought you had caught beat its wings and flew away ... love stays away, you wait and wait; when least expected, there it is! All around you, swift, so swift, it comes, it goes, and then returns ... you think you hold it fast, it flees you think you're free, it holds you fast. Love! Love! Love! Love! Love is a gypsy's child, it has never, ever, known a law; love me not, then I love you; if I love you, you'd best beware!

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Denyce Graves

• Infamous American Mezzo-soprano• Sang with Andrea Bocelli in a

production of Werther• Graves and Elmo

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Barcarolle from Opera Les contes d’Hoffmann

(The Tales of Hoffmann霍夫曼的故事 1881) by Offenbach

• Barcarolle (A boating song 船歌) : 6/8 meter, like a Venetian gondolier’s stroke (威尼斯船夫)– Original Title: “Belle nuit, ô nuit d'amour” (Lovely night,

o night of love)

• Cantopop: “Wave” by George Lam (林子祥: 浪)• Movie: La vita é bella (Life Is Beautiful, 1997)

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Barcarolle‘Belle nuit, ô nuit d’amour’

Belle nuit, ô nuit d'amour, Lovely night, oh night of love,Souris à nos ivresses, Smile upon our joys!Nuit plus douce que le jour, Night much sweeter than the day,Ô belle nuit d'amour! Oh beautiful night of love!

Le temps fuit et sans retour Time flies by, and carries awayEmporte nos tendresses, Our tender caresses for ever!Loin de cet heureux séjour Time flies far from this happy oasisLe temps fuit sans retour. And does not return

Zéphyrs embrasés, Burning zephyrs,Versez-nous vos caresses, Embrace us with your caresses!Zéphyrs embrasés, Burning zephyrs,Donnez-nous vos baisers! Give us your kisses!

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Hong Kong Pop: “Wave” sung by George Lam 林子祥

Lyrics：James Wong (黃沾) Arrangement：Chris Babida

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Movie: La vita é bella(Life Is Beautiful, 1997)

1998 Academy Award– Leading Actor: Roberto Benigni– Best Foreign Laguage Film– Best music (Original Dramatic Score)

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“Intermezzo”from opera Cavalleria Rusticana 1890

(Rustic Chivalry 鄉村騎士)

• Movie: Godfather III 1990)

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“Pavarotti and Friends”Charity Concerts

• Spice Girls and Pavarotti – Viva Forever

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Movie:

Distant HarmonyPavarotti in China

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Classroom Project• Identify other movies or pop medium

which use music from operas– Ex. Nodame Cantabile (交響情人夢) uses

music from Mozart’s The Magic Flute

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Orfeo and his Lyre

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III) The “Invention”of Opera

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Time Period• Medieval: 13th-14th century• Renaissance: 15th-16th century

The Birth of Opera

• Baroque: 17th century to early 18th century (1600-1750)

• Classical: Late 18th century to early 19th

century (1750-1820)• Romantic: 19th century• Twentieth century: 20th century• Contemporary: 21st century

Monteverdi

Handel

Mozart

Verdi

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The “Creation” of Opera

16th century: Contrapuntal vocal writing, “Ordinary people” cannot understand the

texts and music

Listen to this Contrapuntal piece by Palestrina

(“Sicut Cervus” As the deer)52

The scholar at that time tried to solve the problem by imaging what people did

in the ancient Greek……

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So what was the solution?

Monody: One melody at a time with instrument accompaniment, so people can understand the text; and music would not distract the drama.

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Who is the first big opera guy?

MonteverdiL’ Orfeo (1607)

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Greek Myth

Orfeo• Son of Apollo (God of Sun)• God of Music• Married to Euridice

Storyline:1. Euridice killed by snake2. Orpheus goes down to Hades3. Use his power of music and finally Euridice

was released from Hades, with one condition…

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He cannot look back to her while they are walking back to earth

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L’Orfeo• Traditional production:

L’Orfeo, Kultur, 2002. Starring: Montserrat Figueras, Jordi Savall Director: Brian Large

• Movie Production:L’Orfeo, Deutsche Grammophon, 1978.Starring: Nikolaus Harnoncourt, Philippe HuttenlocherDirector: Jean-Pierre Ponnelle

• Updated production:L’Orfeo, Kultur, 2008.Starring: John Mark Ainsley, Stephen Stubbs Director: Pierre Audi 58

Prologue: Monteverdi’s Orfeo

• Toccata – “Overture”• Ritornello - Recurring orchestral passage• La Musica – Explaining the main theme of the

story to the audience• Ritornello • La Musica• Ritornello

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MUSICFrom my beloved Permessus (River-God) I come to you, illustrious heroes, noble scions of kings, whose glorious deeds Fame relates, though falling short of the truth, since the target is too high.

I am Music, who in sweet accents can calm each troubled heart, and now with noble anger, now with love, can kindle the most frigid minds.

Singing to a golden lyre, I am wont sometimes to charm mortal ears; and in this way inspire souls with a longing for the sonorous harmony of heaven's lyre.

Hence desire spurs me to tell you of Orpheus, the immortal glory of Pindus and Helicon, Orpheus who drew wild beasts to him by his singing, and who subjugated Hades by his entreaties.

Now while I alternate my songs, now happy, now sad, let no small bird stir among these trees, no noisy wave be heard on these river banks, and let each little breeze halt in its course

http://www.opera-guide.ch/libretto.php?id=226&uilang=de&lang=en60

Orfeo’s Monody: “Tu se’ morta”(You are dead)

• Monody → Homophonic (Single melody with Harmonic support)

• Emotional intensity created by– Dramatic expression of the text with expressive and

flexible rhythm– Using dissonance – Please see “Dissonance in Tu sei

morta” (MUS file:http://www.finalemusic.com/notepad/)• Word painting (stelle - high tones; morte -low

tones)

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Monody: “Tu Sei Morta”(You are dead)

• ORPHEUS You are dead, my life, and I still breathe? You have gone from me, never more to return, and I remain? No, for if my songs have any power at all I will surely descend to the deepest abyss and, having softened the heart of the King of Shadows, will bring you back with me to see the stars again. Oh, if malign destiny denies me this, I will remain with you in the company of death. Farewell, earth! Farewell, sky, and sun, farewell!

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IV) Recitative, aria, duet, trio, soprano,

tenor…

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Types of Music in an Opera• Instrumental music: Overture, wedding march• Recitative: Semi-singing • Aria: Like a song• Duet: A song for two characters (“Barcarolle” is

a duet)• Trio: A song for three characters• Quartet: A song for four characters• Ensemble: A song for a few people• Chorus: A “song” for a bunch of people

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Recitative and Aria

Recitative and Aria are the two major musical components

in the early Italian operas

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Recitative

Style: like speaking, not very melodic. Function: Get the story going, tell the audience what’s going on…

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Two types of RecitativesAccompanied recitative

(Recitative with orchestra)

Handel’s “Ombra Mai fu”from Serse

RecitativeAria Recitative

Secco Recitative(Recitative with

continuo only, i.e. cello and keyboard)

“Non più andrai” from The Marriage of Figaro

Recitative Aria

Recitativo accompagnato is considered to be more “dramatic”

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Aria

Style: Like a song, very melodicFunction: Express the emotion

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Dat’s love from Carmen JonesRecitative:I won't pick out a manAnd he won't pick out me It don't go that wayYou can't ever knowWhere your crazy heart Wants to go

Aria:Love's a baby that grows up wildAnd he don't do what you want him toLove ain't nobody's angel child And he won't pay any mind to you One man gives me his diamond stud And I won't give him a cigarette One man treats me like I was mud And all I got that man can get

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Dat's love You go for meAnd I'm taboo But if you're hard to get I go for you And if I doDen you are through, Boy My baby, that's the end of you So take your cue, Boy Don't say I didn't tell you true She told you true I told you truly If I love you Dat's de end of you

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Second verse: When your lovebird decides to fly Dere ain't no door dat you can close She just pecks ya a quick good-bye And flicks the salt from her tail and goes If you listen, den you'll get taught And here's your lesson for today If I chase ya,den you'll get caught And once I got you, I go my way When your lovebird decides to flyRefrain:Dat's love…

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Classroom Activity

• Make up a scenario• Then compose a pair of recitative and aria

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Voice Type

• “Fach” = “Pigeon hole” or “specialty”: A German system of classifying singer’s voice type

• Each voice type normally has at least these two sub-categories:Dramatic and Lyric

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Coloratura Soprano

• Diana Damrau (Germany)

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Lyric Soprano

• Barbara Bonney (American)

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Lyric Soprano

• Ying HUANG黃英 (Chinese)– Pamina’s aria from The Magic Flute– “One Fine Day” from Madama Butterfly

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Dramatic Soprano

• Eva Marton (Hungarian)

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Mezzo-soprano

• Marilyn Horne (American)

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Contralto

• Marian Anderson (African American)– 1939 at Lincoln Memorial, Washington, USA– Verdi’s aria

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Countertenor

• Jochen Kowalski (German)From Johann Stauss’ Die Fledermaus(The Bat)

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Lyric Tenor

• Juan Diego Florez (Peruvian)– 9-High-C Aria

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Dramatic Tenor

• Franco Corelli (Italian)

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Baritone• Dmitri Hvorostovsky (Russian)

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Bass-baritone• Bryn Terfel (Welsh)

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Bass

• Kurt Moll (German)

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V) Baroque

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Italian Baroque Opera and Castrato

Castrato: A guy who sings like a woman. He got his “women” voice by means of a

rather drastic surgical procedure.

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The castrato was the “diva” of the Baroque operatic world… except France, which thought

castrato was such an unnatural thing.

Castrato represents what might be considered the ultimate example of putting art before

common sense.

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Was it legal to become one?

No, the church said castration was not allowed (officially…) but since

the church did not allow women to serve, so...

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Castrati were said to be the victims of unfortunate farming accidents…

One castrato in 1800 said he was

Attacked by a Pig!

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Do we still have Castrato?

Well, guys know better now…But we do have countertenor!

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Countertenor: A guy who sings as high as women through TRAINING, not procedure!

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Movie about a famous Castrato: Farinelli (1995)

• Farinelli, Sony Pictures, 1995.Starring: Stefano Dionisi, Enrico Lo Verso Director: Gérard Corbiau

• Farinelli,– Carlo Broschi (1705-1782)– Italian Soprano Castrato

• The “Power” of a Castrato

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Form• Organization of Musical Materials• Planning in Music• Music is organized in three basic ways

Repetition – the same musical material is repeated Variation – the musical material is similar but variedContrast – the musical material is very different

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‘Lascia ch’io pianga’from Rinaldo (Let me weep)

Da Capo Aria (“From the Head” aria)A: Let me weep over my cruel fate and

sigh for my freedomB: May my grief mercifully break these

chains of anguishA’: Let me weep over my cruel fate and

sigh for my freedom

A’= A with extra melodic ornamentations

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American Countertenor:David Daniels (1966-)

• http://www.danielssings.com/• Handel’s “Or la tromba” from Rinaldo

Lyrics:The jubilant sound of the trumpet summons me to triumph. Glory and love wish to crown me as a warrior and a lover

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“Handsome” Countertenors

Philippe Jaroussky (France)

Andreas Scholl (German)

Brian Asawa (Japanese-American)

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VI) Classical Period

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Reform of Opera in Classical Period

Christoph Willibald von Gluck (1717-1787)

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Reform of Opera in Classical Period

• The recitative-aria sequence and florid singing in late Baroque opera became such a “standard procedure” that the opera became so “un-dramatic”

• Gluck tried to move the focus from the virtuosic singing back to the drama itself, i.e. the original intention of the genesis of opera

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Reform of OperaFirst Reform Opera: Gluck’s Orfeo ed Euridice

– ‘Noble simplicity’ in the action and the music

– No coloratura– More continuous music: Use of orchestral

recitative, arioso, short arias, ensembles, choruses, and ballets

– No da capo arias– No sub-plots, focus on the love of Orfeo

towards Euridice– Lieto fine (traditional)

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“Updated Production”• Change of timeline, to contemporary time• Change of location, to other more “ordinary”

places (café, hotel, street, etc.)• Use of contemporary set and costumes• Can be an effective way of attracting young

audiences, when it is done well• The projected translation will need modification• Some updated productions also involves

psychological twist of the plot

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Traditional Updated

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Updated Production of Gluck’s Orfeo ed Euriduce

• Jochen Kowalski, counter-tenor (Orfeo) and Gillian Webster (Euridice)

• Royal Opera House• Orfeo has “Schizophrenia” (精神分症) !!!!!!!!!!!!!!

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Classroom ActivityCompare two versions of Gluck’s

Orfeo ed Euridice

Traditional version Updated versionOrfeo ed Euridice, Kultur, 1982Starring: Elisabeth Speiser, Janet Baker

Orfeo ed Euridice, Kultur, 1991.Starring: Jochen Kowalski, Gillian Webster Director: Hans Hulscher

http://www.metoperafamily.org/met_player/catalog/detail.aspx?upc=811357012390

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Act III Euridice’s Anger As Orfeo is not telling her what is going on,

Euridice is getting agitated…

• Euridice: Recitativo accompagnato: “Qual vita e questa mai” (What kind of life will it be?)

• Euridice Aria: “Che fiero momento” (This fierce moment) – ABA form (No really a Da capo aria though, as the A’ is actually shorter and with no embellishment)

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Recitativo accompagnato“Qual vita e questa mai”

(What kind of life will it be?)

What kind of life will it be? And what fateful, terrible secret does Orfeo hide from me? Why does he weep and grieve? Ah, I am still not used to the agonies. My endurance falters under so great a blow. The light wavers before my eyes,My gasping breath is stifled in my breast. I quake and reel, and through my anguish and frights I feel the cruel shuddering of my heart.

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Euridice’s Aria: “Che fiero momento”

Che fiero momento,Che barbara sorte,Passar dalla morteA tanto dolor!

Avvezzo al contentoD'un placido oblio,Fra queste tempesteSi perde il mio cor.Io vacillo, io tremo.

Che fiero momento,Che barbara sorte,Passar dalla morteA tanto dolor!

This fierce moment, This barbarian fate, To pass from the death To such sorrow!

Imbued with the bliss Of a calm oblivion,Among these storms My heart is lost.I wave, I tremble.

This fierce moment, This barbarian fate, To pass from the death To such sorrow!

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Second death of Euridice:Che farò senza Euridice?

(What shall I do without Euridice?)

• 2009 Met Production– Euridice “tries” to make Orfeo to look at her– Recitativo accompagnato: Alas! To what a pass have

I come! Where have I been led by the frenzy of my love? Wife! Euridice! She is no longer living. I have no one to help me, none to advise me! I am in despair!

– Aria: What shall I do without Euridice?

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Recitativo accompagnatoWoe is me!What has possessed me?To what has love’s madness driven me?Wife! Euridice! My spouse!Alas, she is not alive.I call her in vain. I have lost her again and forever!Oh law, o death, o cruel memory!For me no help, no wisdom can avail.I see only (oh desparate sight!)the funereal visage of my hideous existence. Be sated, evil fate, I am without hope.

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Orfeo: “Che farò senza Euridice?”Rondo form: “abaca”

Allegretto: Che farò senza Euridice!Dove andrò senza il mio ben? Euridice, Oh Dio! Respondi!

Adagio: Io son pure il tuo fedel.

Tempo I:Che farò senza Euridice!Dove andrò senza il mio ben?Euridice! Euridice!

Adagio:Ah! Non m’avenza, più soccorso,più speranza, nè dal mondo nè dal ciel!

Tempo I:Che farò senza Euridice!Dove andrò senza il mio ben?

Rather Fast:What shall I do without Euridice?Where shall I go without my treasure?Euridice! Oh god, answer me!

Slow:I am your true, faithful one.

Original speed:What shall I do without Euridice?Where shall I go without my treasure?

Slow:Alas, no salvation, no further hope,neither from earth, nor from heaven!Euridice! Euridice!

Original speed:What shall I do without Euridice?Where shall I go without my treasure?

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Wolfgang Amadeus Mozart (1756-1791)

• Mozart is the “oldest” composer, whose operas do not need revival

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The most important factors of being a successful opera

composer are:Sense of theatre and...

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Sense of humor...

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Movie: Amadeus (1984)

1984 Oscar Best Actor F. Murray Abraham - Antonio Salieri

1985 Nominated Best ActorTom Hulce - Wolfgang Amadeus Mozart

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Amadeus

Mozart & Salieri – First encounter

Why Salieri hates Mozart?

Figaro is a bad play?

The “REAL” meaning of the Queen of the Night’s aria

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Movie: Amadeus (1984)

• Featuring excerpts from– The Marriage of Figaro (1786)– Don Giovanni (1787)– The Magic Flute (1791)

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Mozart’s The Marriage of Figaro(1786)

• Susanna – Soubrette “A servant girl” (Clever and cunning, a master of intrigue)

• Figaro – Bass-baritone – A servant• Count (Almaviva) – Baritone• Countess (Rosina) – Soprano• Cherubino – Mezzo-soprano (Pants role: A woman

playing a male role; singing like a woman though)• Marcellina – Mezzo-soprano – Wants to marry Figaro • Bartolo – Bass – Hates Figaro• Basilio – Tenor – Music Teacher

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Droit de seigneur“Right of the Lord”

Figaro Susanna

Count AlmavivaCountess Rosina

Droit de seigneur

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Act ILibretto in Italian and English: http://www.aria-database.com/translations/figaro.txt

• Overture – Instrumental music before the acts• Scene 1: Figaro and Susanna on stage, Figaro is

measuring the room, while Susanna is trying her wedding veil(Cinque…dieci / Five…Ten)

• Susanna reminds Figaro that the Count has a PLAN on her

• Figaro swears that he will “dance with the Count” (Se voul ballare, signor Contino / If you want to dance, my dear little Count )

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Act I (continued)

• Marcellina wants to marry Figaro and asks Bartolo to help him, Bartolo sing his Vendetta’s aria (Aria: La Vendetta / The revenge)

• Cherubino expresses his “hormones problems” to Susanna (Aria: Non so più cosa son / I don’t know what I am anymore)

• The Count comes in and flirts with Susanna, Cherubino hides

• Cherubino was caught, and the Count wants to get rid of him as Cherubino now knows about his agenda towards Susanna

• Figaro sings his “Farewell song” to Cherubino (Aria: Non più andrai / No more you'll wander)

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Cherubino: Non so più cosa sonI don’t know what I am anymoreI don't know what I am any more, or what I'm doing Now I'm on fire, now I'm freezing Every woman makes me change colour, Every woman makes my heart flutter. Simply at the name of love, of delight I am upset, and my heart beats faster And I find myself talking of love From a need I can't explain. I talk of love when waking I talk of love when dreaming, To the water, to the shadows, to the mountains, To the flowers, to the grass, to the fountains, To the echoes, to the air, to the winds, And the sound of my useless words Is carried away with them. And if I don't have anyone to hear me, I talk of love to myself!

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Act II• Countess expresses her loneliness (Aria: “Porgi amor” /

Bestowed Love)

• Countess, Susanna, and Figaro figure out a way to trick the Count

• Act II Finale: Extensive Ensemble piece (No Clapping!)

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The Plan

• Susanna accepts the Count’s invitation of meeting with him in the garden at night

• BUT the Countess will dress like Susanna, while Susanna will dress like the Countess

• And try to catch the Count at the spot…

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Act III • The Count tries to get Figaro to marry Marcellina (Figaro

owns her money). The judge (Don Curzio) announces his verdict

• But then they realize that Figaro is actually the illegitimate son of Marcellina and Bartolo!!!Sextet: Riconosci in questo amplesso (We find each other again in this embrace)

• Susanna and the Countess write a letter to the Count, trying to trick him (Sull’ aria / On the breeze)

• Wedding Scene

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Duet: “Sull’ aria”(On the breeze)

Recitative:COUNTESS: "A little song on the breeze ... "

Duet: SUSANNA: "On the breeze ... " COUNTESS: "What a gentle zephyr ... " SUSANNA: "Zephyr ... " COUNTESS: "Will whisper this evening ... " SUSANNA: "Will whisper this evening ... " COUNTESS: "Beneath the pines in the copse." SUSANNA: "Beneath the pines ..."? COUNTESS: "Beneath the pines in the copse." SUSANNA: "Beneath the pines ... in the copse ... “COUNTESS: And he'll understand the rest. SUSANNA: Oh, yes, certainly he'll understand it.

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Act IV• Figaro didn’t receive the message from the

Countess that they will try to trick the Count at the garden tonight, and so he misunderstands that Susanna is being unfaithful (Aria: Tutto èdisposto / Everything is ready)

• Susanna finds out that Figaro is hiding somewhere in the garden and he has doubt about her faithfulness. She tries to get him even more angry by singing “Giunse alfin ilmomento – Deh vieni” (At last the moment is here – Oh come! / Recitative – Aria)

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Recitativo accompagnato→ For major rolesminor roles → secco recitative

Figaro: Bass-Baritone“Tutto è disposto” (Everything is ready)

Recitativo accompagnato:Everything's ready: the hour must be near; I hear someone! It's her! ... it's no

one. The night is dark and now I begin to ply the wretched trade of a husband. Ungrateful woman! In the middle of my ceremonies, he read it with pleasure, and seeing it. I laughed at myself, without knowing it. Oh Susanna, Susanna, what pains you cost me, with that ingenuous face ... with those innocent eyes, who'd have believed it? Ah, to trust a woman? Must always be folly!

AriaOpen your eyes a little, incautious and stupid men, look at these women, look

at what they are! These you call goddesses with your cheated senses to whom our weak reason burns incense, they're witches who enchant to cause us pain, to land us on the rocks, to steal our feathers, to take our light away; they're thorny roses, they're charming, they're smiling bears, cruel doves,, masters of intrigue, friends of trouble, who act, lie, they don't feel love, they don't feel pity, no, no, no, no! no, no, no, no! I won't say the rest, everyone knows it already!

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Susanna is actually singing this to Figaro, but she pretends to sing it to the Count, trying to get her

revenge on Figaro’s lack of faith on her faithfulness!Soprano Aria: “Deh vieni” (O Come!)

Brief description of the aria:Recitativo Accompagnato:At last the moment approaches which I'll enjoy unhurried in my

beloved's arms. Fearful doubts, out of my heart, don't come to disturb my delight! Oh, it seems that to my amorous fires, this place, the earth and the heavens respond, just as the night supports to my ruses!

Aria:Oh, come, don't delay, my beautiful joy, come where love calls you for

enjoyment, while the moon shines in the sky, while the air is still dark and the world still. Here the brook murmurs, here the windsplay, what sweet susurrations whisper in my heart, here the flowers laugh, and the grass is fresh, all accords to the pleasures of love. Come, my love, among these hidden trees, I want to crown your forehead with roses.

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Act IV Finale

• Confusing yet funny, disguises…Count was finally caught and he asks for forgiveness

Lieto Fine

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SUSANNA: [mimicking the Countess's voice] Oh, Figaro, speak softly! FIGARO: Oh, here is the Countess ... You come in good time ... There you will see

yourself - the Count, and my bride ... with your own hand you may touch them. SUSANNA: [forgetting to change her voice for a moment] Speak a bit quieter! I'm not

moving a step from this place, Until I have vengeance of my own.FIGARO: [aside] Susanna! [aloud] Vengeance? SUSANNA: [regaining her feigned voice] Yes. FIGARO: What need have you of vengeance? SUSANNA: [aside] (I'll trip the rascal up and I know how I'll do it.) FIGARO: [aside] (The vixen wants to trip me, and I'll play right along.) [aloud,

extravagantly, on one knee] Ah, madam, I am at your command! SUSANNA: Get up, no words! FIGARO: Here I am at your feet, my heart full of fire ... Look around you, Think how he

betrayed you!SUSANNA: [aside] (Oh, how my palms itch! What agitation, what fury!) FIGARO: [aside] (Oh, how my bosom heaves! What agitation, what warmth!) SUSANNA: [altering her voice a little] No more than affection? FIGARO: Let respect content you. Don't let us waste time, give me your hand ... SUSANNA: [in her normal voice, slapping him hard across the face] As you wish, signor. FIGARO: What a blow! SUSANNA: [slapping him again] What a blow! and this, and this, and this too, and this,

and then this as well! FIGARO: Don't hit quite so fast! SUSANNA: And this, shrewd sir, And this, and this one too! FIGARO: Oh gracious blows, oh, my happy love! SUSANNA: Take that, and learn, learn, you traitor, how to go philandering!

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FIGARO: [catching her hands; kisses them] Peace, peace, my sweet treasure, I recognized the voice that I adore, and which I keep imprinted in my heart.

SUSANNA: SUSANNA: [surprised] My voice? FIGARO: FIGARO: [pedantically] The voice that I adore. SUSANNA & FIGARO: Peace, peace, my sweet treasure, peace, peace, my dear love. COUNT: [offstage] I can't find her, and I've looked everywhere. SUSANNA & FIGARO: This is the Count - I recognize that voice. COUNT: [from the niche into which Rosina led him earlier] Susanna, are you mute? Are

you deaf? SUSANNA: Wonderful! He hasn't recognized her. FIGARO: Who? SUSANNA: Madama! FIGARO: Madama? SUSANNA: Madama! SUSANNA & FIGARO: Let us finish the play, my love, and console this confused lover! FIGARO: [throwing himself at Susanna's feet again] Yes, madam, you are my only love! COUNT: My wife! And I'm unarmed! FIGARO: Give me some remedy for my aching heart! SUSANNA: I am here, do what you wish with me. COUNT: Ah, traitors!SUSANNA & FIGARO: Ah, let us run, my love, and let present joy replace our pains.[Susanna goes into the right arbour.]

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COUNT: My people, to arms! FIGARO: The master! COUNT: My people, to me! FIGARO: I'm lost! [Enter Basilio, Curzio, Antonio, Bartolo and Chorus] TUTTI: What's happening? COUNT: This scoundrel has betrayed me, has slandered me and with who, wait and see! THE OTHERS: I am shocked, I am confused, this seems unreal! FIGARO: Oh, what a scene, what fun! COUNT: In vain is resistance, Come out of there, madam! I'll let you have the reward for

your honesty now! [pulls out in succession Cherubino, Barbarina, Marcellina and Susanna] The page!

ANTONIO: My daughter! FIGARO: My mother! THE OTHERS: My lady! (The Countess)COUNT: The plot is discovered, the traitress is here! SUSANNA: [kneeling at the Count's feet] Pardon! Pardon! COUNT: No, I don't want to give it! FIGARO: [kneeling] Pardon! Pardon! COUNT: No, no, don't hope for it! ALL BUT ALMAVIVA: [kneeling] Pardon! COUNT: No, no, no! COUNTESS: [entering from arbour] At least I may obtain pardon for them. ALMAVIVA, BARTOLO & ANTONIO: BARTOLO & ANTONIO: Oh heavens, what do I

see! Am I delirious? Do I dream? I don't know what to believe! 6:07 COUNT: [kneeling at the Countess's feet] Countess, pardon me! COUNTESS: I am gentler, and I grant it you.

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• Peter Sellars (1957-), American theatre director, Professor of UCLAFamous for his modern staging of plays and operas

• Cosi Fan Tutte: Set in a diner• Le Nozze di Figaro: Set in Trump Tower (NY City)

Le Nozze di Figaro, Decca, 1990.Starring: Sanford Sylvan, Jeanne OmmerleDirector: Peter Sellars

• Don Giovanni: Set in NY City's Spanish Harlem Don Giovanni. Decca, 1990.Starring: Herbert Perry, Eugene Perry Director: Peter Sellars, Craig Smith

Peter Sellars

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VII) Romantic Italian Opera

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Drama Progression in Opera• Baroque: Recitative → aria → Recitative → aria…

• Classical: Recitative (more use of accompanied recitative though) → aria or various ensemble (duet, trio, quartet…)

• Romantic– Based on the traditional recitative-aria format– New format:

• Slow-Fast aria• Scena – Cantabile – Tempo di mezzo – Cabaletta

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OEDC 起承轉合• “O”→ Opening Statement

– Scena• “E”→ Follow-up Expansion

– Cantabile• “D”→ Development or Change of Direction

– Tempo di mezzo• “C”→ Conclusion

– Cabaletta

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Romantic (19th century) Italian Opera

Structure of Arias• Early 19th century

Slow – Fast (“Ecco ridente” from Il barbiere diSiviglia, 1816)Cantabile – Cabaletta

• Scena – Cantabile – Tempo di mezzo – Cabaletta• After 1850s, forms become more flexible• 1870-90: Ternary Form (French influences)• Puccini and his contemporary: Form follows the text

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Scena (Scene)

• A dramatic episode before an aria• Scena ed aria, scena e duetto

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Cantabile (Singable)

• The slow and lyrical part of an aria

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Tempo di mezzo(Middle movement)

• A fast transitional passage between– a cantabile and cabaletta– a pezzo concertato and a stretta

• May have an entrance or exit of a secondary character

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Cabaletta

• Second fast movement of a double aria• Two stanzas, with decorations added after

an ritornello• 1870s: extinct

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Cavatina

Cavatina has two different definitions:1. Principal’s first aria (Italian):

– “Una voce poco fa” (Il barbiere di Siviglia, 1816)

2. A short aria without da capo– Mozart’s Le nozze di Figaro (1786): “L’ho

perduta”

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Parlante (spoken)

• Orchestra plays sequential melodic figures while the singer sings short passages above it (like normal conversation)

• Providing information, function like recitative, but musically more interesting

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Pertichini

• Interventions by other singers into an aria

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Pezzo concertato(Concerted piece)

• A large ensemble• Donizetti’s Lucia di Lammermoor, 1835

“Chi me frena in tal momento” (Who restrains me in such moment) - "Lucia Sextet" – Used in the movie The Departed (2006) 無間道風雲

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Rubato (stolen time)

• Flexibility of rhythm and tempo• Two types:

1. Melodic: Strict bass + delayed or anticipated melody

2. Structural: Tempo of the whole ensemble

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Stretta (Tightening)

• The fast concluding movement of an ensemble

• Le Nozze di Figaro (1786): “son confuse, son stordito”

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Rossini’s Il barbiere di Siviglia(The barber of Seville, 1816)

Act I• Sinfonia• Introduzione: Chorus and Fiorello• Conte’s cavatina• Figaro’s cavatina• Canzone• Duetto (Figaro and Count)• Rosina’s cavatina• Basilio’ aria• Duetto (Rosina and Figaro)• Bartolo’s aria• Finale

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Rosina

Count AlmavivaFigaro

Bartolo

Figaro helps to get these two young people to get married

Wants to marry RosinaIn love with each other

Rossini’s Il barbiere di Siviglia(The barber of Seville, 1816)

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The barber of Seville (1816) by Gioacchino Rossini

• Director, set design and costumes: Dario Fo• Dario Fo (1926-)

– Italian Director– Nobel Prize for Literature in 1997– Use of elements from Commedia dell'arte– The Barber of Seville, Kultur, 1992.

• Starring: David Malis, Jennifer Larmore• Director: Dario Fo

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Commedia dell’arte(Comedy of the art/ professional artists)

• A semi-improvised theatrical entertainment with music and singing, popular in Italy, from the early 16th century to about 1750.

• Standardized plot line and masks or fixed character roles• Stock Characters: Pagliaccio, Columbina, Arlecchino,

Pulcinella…• Standard jokes: Romantic liaisons between young women and

old men, gluttony, embarrassments of unwanted pregnancy, cross-dressing, gender reversals or differences in sex or sexuality

• Touring troupes of opera borrowed many features of libretto and music from it.

• Commedia dell’arte had an obvious influence on the stock characters and situations in the comic scenes of 17th-century Italian operas and in later comic operas

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• All kinds of different Chinese translation: – Improvisatory Comedy 即興喜劇– Artistic Comedy 藝術喜劇– Professional Comedy 職業喜劇– Masked Comedy 假面喜劇– Improvisatory Masked Comedy 即興面具喜劇

Commedia dell’arte(Comedy of the art/ professional artists)

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Commedia Dell’arteby Karel Dujardin, 1657

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The Beginning of Act I of BarbiereSection Text Theme Characters Content Sinfonia Orchestra

Introduzione “Piano, pianissimo” a Fiorello, Conte Quiet, very quiet& Chorus

Conte’s cavatinaSlow “Ecco ridente in cielo b Conte Smiling in the heaven

“Sorgi, mia dolce speme” b’ Conte Arise, my sweet hopeFast “Oh sorte! Già veggo c Conte What fate! I already see

“Oh dolce contento” c’ Conte O sweet contentment

Choral refrain “Ehi, Fiorello?” a’ Conte, Fiorello Hey, Fiorello?& Chorus

Stretta “Mille grazie…mio signore” d Conte, Fiorello A thousand thanks, my & Chorus lord

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Count’s Cavatina: “Ecco Ridente in Cielo”

• The “New” Rossini Tenor: – Juan Diego Florez (Peruvian, born in 1973)– “Nine High-C Aria” sung by Florez (From

Donizetti’s The daughter of Regiment)

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The barber of Seville (1816) by Gioacchino Rossini

• Bugs Bunny version: “Rabbit of Seville”Rabbit of Seville, Warner Bros. Pictures, 1949.

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The barber of Seville

• BEST singing Movie production:– Il Barbiere di Siviglia, Deutsche Grammophon, 1972

• Starring: Hermann Prey, Teresa Berganza • Directors: Jean-Pierre Ponnelle, Claudio Abbado

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Tristan and Isolde

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Donizetti’s L’elisir d’amore(“The Elixir of Love”, 1832)

• Nemorino believes in the magic potion of love after hearing the story of Tristan and Isolda.

• He buys the elixir from Dr. Dulcamara, but the elixir is only wine.

• After realizing Nemorino is going to inherit a big sum of momey, all the girls in the village come after Nemorino.

• Nemorino mistakes the sudden attitude change as the magic power of the “elixir”

• Even Adina cries when all the girls are around Nemorino(Adina is rich herself)

• Nemorino then realizes she love him too.

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Nemorinobelieves in the magic potion of love after hearing the story of Tristan and Isoldafrom Adina

N loves ANemorinobuys love elixir from Dulcamara Belcore also

“loves” Adina

AdinaNemorinoDr. Dulcamara

Belcore

Donizetti’s L’elisir d’amore(“The Elixir of Love”, 1832)

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Donizetti’s L’elisir d’amore(“The Elixir of Love”, 1832)

Act I• Preludio• Introduzione: Chorus and Gianetta• Nemorino’s cavatina• Adina’s cavatina• Belcore’s cavatina• Duetto (Nemorino and Adina)• Dulcamara’s cavatina• Duetto (Nemorino and Dulcamara)• Duetto (Nemorino and Adina)• Trio (Nemorino, Adina, and Belcore)• Finale

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DVDs• Anna Netrebko (Adina), Rolando Villazón

(Nemorino) and Leo Nucci (Belcore)

• Kathleen Battle (Adina), Luciano Pavarotti (Nemorino) and Juan Pons (Belcore)

• Angela Gheorghiu (Adina), Roberto Alagna(Nemorino) and Roberto Scaltriti (Belcore)

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Donizetti’s L’elisir d’amore(“The Elixir of Love”, 1832)

• Donizetti used MANY tools to connect the musical sections – Reinforcement of the dramatic effect– Laughter of Adina after Nemorino’s Cavatina– Drum roll at the end of Adina’s Cavatina

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Donizetti’s L’elisir d’amore(“The Elixir of Love”, 1832)

Preludio-OrcheatraChoral Introduction Nemorino’s cavatina (Ternary form/ABA form)A section: “Quanto è bella” – Nemorino

How beautiful she is…• B section: “Essa legge” - Nemorino

She can read!• A’ section: “Quanto è bella” - Nemorino

How beautiful she is…Choral refrain

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Adina’s cavatina(Laughter) – No Clapping!Scena1. Scena: “Benedette queste carte” - Adina & Chorus

This book is lovely! Read it to us, pleaseAria (Refrain form)2. 1st verse (d theme): “Della crudele Isotta” - Adina

Of the hard-hearted Isotta, whom Tristano loves…3. Refrain (e theme): “Elisir di sì perfetta” - Adina & Others

Elixir of so perfect, we would like some too!4. 2nd verse (d theme): “Appena ei bevve un sorso” - Adina5. As soon as he had taken a sip, Isotta loves him too!5. Refrain + stretta (e theme): “Elisir di sì perfetta” - Adina &

OthersElixir of so perfect, we would like some too!

(Interrupted by the March) – No Clapping again!

The verses are in parlantestyle, WHY?

A musical way to tell us that Adina is reading a book, she is not telling us her own thought.

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Entrance of Belcore and Soldiers

• March: Orchestra with stage band

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Belcore’s cavatinaCantabile1. 1st verse (theme f): “Come Paride vezzoso” - Belcore

Like the handsome Paris, giving the apple to the beauty…2. Asides: “È modesto il signorino” - All

This young man is SO modest!3. Cadenza-like material: “Veggo chiaro” - Belcore

I can see clearly that you all like me, because of my “galante”!

4. 2nd verse (theme f) - “Non v’ha bell ache resista” -BelcoreNo fair maid can resist me!

Tempo di mezzo5. Tempo di mezzo (repeated figuration): “Or se m’ami” -

Belcore & OtherNow if you love me as I love you, we shall get married now! 168

Belcore’s Cavatina (continued)

“Cabaletta”6. 1st verse (theme g): “Più tempo” - Belcore

For the time sake, surrender now!7. 2nd verse (theme g): “Vedete di quest’uomini –

Adina (!)Look at this man, proclaims winning before the fight!

8. Concertato (theme h): “Un po’ del suo coraggio” -Nemorino & OthersA bit of his courage, Cupid, please help!

9. 2nd verse repeated: “Vedete di quest’uomini –Adina (!)Look at this man, proclaims winning before the fight!

10. Concertato repeated +Stretto: “Un po’ del suocoraggio” - Nemorino & Others

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Belcore’s Cavatina (continued)

• This is Belcore’s aria, how come Adina takes over the cabaletta section?Adina is in charge, not Belcore!

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• Recitativo: “Intanto, o mia ragazza -Belcore and AdinaMeanwhile, my girl, we shall rest in this square.

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Duetto (Nemorino and Adina)Scena• Scena: “Una parola”, O Adina” - Nemorino & Adina

One word please, AdinaCantabile• 1st verse (theme i): “Chiedi all’aura lusinghiera” –

Adina - Ask the flattering breeze, why I don’t love you• Tempo di mezzo (theme j): “Dunque io deggio?” -

Nemorino & Adina - What must I do?• 2nd verse (theme i): “Chiedi al rio perchè” – Nemorino

- Ask the river why I won’t change my love to you• Tempo di mezzo (theme j): “Dunque vuoi?” - Adina &

Nemorino – So what do you want?

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Duetto: Nemorino and Adina (continued)

Cabaletta• 1st verse (theme k): “Per guarir d ital pazzia” –

AdinaTo cure such madness

• 2nd verse (theme k): “Ah! Te sola io vedo” –NemorinoIt’s you that alone I see

• Mixture of 1st and 2nd verses (theme k):Shared verse of Adina and Nemorino“Per guarir d ital pazzia” (Adina) + “Col cangiarsi, qual tu fai” (Nemorino)

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“Una furtiva largima”(Once secret tear)

Act II Scene 2• As one of the most famous tenor arias from the 19th

century, it was recorded by all famed tenors, such as Caruso, Gigli, Pavarotti, and Domingo. Interestingly, Michael Bolton also included this song in his album “My Secret Passion”.

• Nemorino is a common folk in love with the wealthy landowner, Adina. He later inherits a good sum of money without his knowing. And suddenly, all the girls in the village “fall in love” with him. Seeing tears appearing in Adina’s eyes, he finally understands that the love is mutual.

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“Una furtiva largima”A furtive tear fell from her eyes. She seemed to envy those merry girls. What more am I looking for? She loves me. Yes, she loves me. I see itTo feel the throbbing of her beautiful heart for a single instant! To mingle my sighs for a short time with her sighs! To feel the throbbing, to mingle her sighs with mines! Heaven, I could die; I ask for nothing more. Ah!

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“Una furtiva largima”

• Pavarotti • Florez• Villazon

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La Traviata(“The Corrupted”, 1853)

Prelude

• La Traviata – Love Theme (MUS File)• Prelude (Overture) – Creating atmosphere, and

introducing musical themes that will be used later in the opera – Soft entrance, not curtain-raiser anymore!– George Solti (conductor)– With Staging

• Which movie presented scenes from this opera?

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La Traviata DVDs

• Anna Netrebko and Rolando Villazón• Anna Moffo and Franco Bonisolli• Angela Gheorghiu and Frank Lopardo

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Violetta, a famous courtesan, is having fun with her “colorful” life… She then met Alfredo,

they fell in love.

Alfredo’s father rejected the relationship, as Violetta became a disgrace to their family.

Violetta pretended that she wanted her “old” life again, and she left Alfredo

La Traviata

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La Traviata – Act I Drinking Song“Libiamo ne' lieti calici”

(Let us drink from the goblets of joy)• Waltz meter (3/8)• Alfredo + Violetto + chorus (guests)• Translation: http://www.aria-

database.com/translations/traviata02_brindisi.txt• Domingo and Stratas (Movie version)• Villazón and Netrebko:

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Act I – Duet• Alfredo and Violetta duet: “Un di felice”• Alfredo’s love theme (MUS file)• What is Violetta’s response?

Violetta’s frivolous theme

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La Traviata(“The Corrupted”, 1853)

• Violetta’s “Ah fors’ è lui che l’anima” (Act I)• Most celebrated soprano aria

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Violetta’s “Ah fors’ è lui che l’anima”(Perhaps he is the one) from Act I

Section Text Material Characters Content________________起 Scena (recitative):

“È strano! È strano!” free Violetta How strange! How strange!

承 Cantabile “Ah fors’ è lui che l’anima” a Violetta Perhaps he is the one that my

soul“A quell’amor ch’è palpito” b Violetta To that love that is throbbing

轉 Tempo di mezzo“Follie! Follie!” c Violetta Folly! Folly!

合 Cabaletta“Sempre libera” d Violetta Forever free“Amor, amor è palpito” b’ Alfredo Love, love is throbbing

(Pertichini)“Follie! Follie!” c’ Violetta Folly! Folly!“Sempre libera” d’ Violetta Forever free“Amore, è palpito” b’’ Violetta Love is throbbing

& Alfredo

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Violetta’s aria in Act I– Scena (recitative): “È strano! È strano!”

(How strange! How strange!)– Cantabile “Ah fors’ è lui che l’anima”

(Perhaps he is the one that my soul)– Clapping in the middle of an aria… well…– Tempo di mezzo “Follie! Follie!” (Folly!

Folly!)– Cabaletta “Sempre libera” (Forever free)

• (Pertichini)

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Anna Netrebko (1971-)• Russian-Austrian

soprano• http://www.annanetrebk

o.com/

Rolando Villazón (1972-)• Mexico-French tenor• http://rolandovillazon.co

m

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La Traviata

• Traditional version: – La Traviata, Decca, 1994.– Starring: Angela Gheorghiu, Frank Lopardo

Directors: Humphrey Burton, Peter Maniura• Updated version:

– La Traviata, Deutsche Grammophon, 2006– Starring: Anna Netrebko, Rolando Villazon

Director: Carlo Rizzi, Willy Decker

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VIII) Romantic German Opera

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Romantic German Opera• Active Repertoire from previous periods:

Mozart’s The Magic Flute (Die Zauberflöte, Singspiel - “Singing play”歌唱劇) and Beethoven’s Fidelio (Singspiel)

• Weber (1786-1826): Created a distinct serious Romantic German opera: The Magic Bullet(Der Freischütz, 1821) – Supernatural tales – 7 bullets, first 6 according to the shooter’s will but the 7th to the devil’s

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Richard Wagner華格納(1813-1883)

• Music Drama, not just an opera

• Gesamtkunstwerk (Total work of art): Poetry, drama, voice, orchestra, stage design, etc.

• Easy Listening Wagner: The Flying Dutchman (Derfliegende Holländer,漂泊的荷蘭人, 1844); Tristan und Isolde (1865, 特里斯坦和伊索尔德 )

• Longest Opera: Der Ring des Nibelungen (The Ring Cycle, 尼伯龍根的指環)

http://www.allmoviephoto.com/photo/2007_potc_at_worlds_end_017_big.html

http://homepage.mac.com/rmansfield/thislamp/files/page0_blog_entry317_1.jpg

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The Ring Cycle 尼伯龍根的指環

• A set of four operas – Similar to “The Lord of the Rings” – based on Nordic mythology – gods, river nymphs, dwarfs, giants, dragons, heros…

• Das Rheingold (2.5 hrs, “The Rhinegold”萊茵的黃金)• Die Walküre (4.5hrs, “The Valkyrie”女武神)• Siegfried (4.5 hrs, 齊格菲)• Götterdämmerung (5.5 hrs, “Twilight of the Gods”諸神的黃昏)

• First performed at the Bayreuth Festival Theatre (Bayreuth Festspielhaus)

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The Ring Cycle

• Der Ring des Nibelungen (The Ring of the Nibelung)

• A cycle of 4 Operas

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Das Rheingold1) Gold protected by the Rhine maidens. The gold can be made into a magic Ring, which offers the power to rule the world if the bearer can renounce love.

2) Alberich, a Dwarf, stole gold from Rhinemaidensand made a ring3) Wotan, ruler of the gods, stole the ring from Alberich, Alberich then put a curse on it.

4) Fafner, a Giant eventually got the ring from Wotan

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Das Rheinhold in 30 minutes…Animation Version

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Die Walküre “The Valkyrie”女武神

• The Ride of Valkyries (Der Ritt derWalküren)

• Concert version with subtitles:• From movie: Apocalypse Now 現代啟示錄

(1979)

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Wagner’s Style• Not “numbers opera”• Seamless flow of music – endless melody• No “catchy” melody• Importance of orchestra, not just

accompaniment. It tells the story, inner thoughts, emotion, etc.

• As the orchestra is bigger and the orchestration is “heavy” (use of brass), his operas needs singers who have BIG VOICES - Wagnerian singers

• Leitmotif – a short signature-tune

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• Ben Heppner (1956-) Canadian• Jane Eaglen (1960-) English

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Leitmotif – Tristan und Isolde

Leitmotif – Star Wars

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What’s Opera, Doc? (1957)

• What’s Opera, Doc?, Warner Bros. Pictures, 1957.

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Romantic OperaItalian Style

• Bellini, Donizetti, Verdi, Puccini

• Verismo (Real) – Opera about “real” people: Mimi in La bohème

• Verdi’s La Traviata, Puccini’s La Bohème

• Bel canto (beautiful singing)• Voice dominant; orchestra

like accompaniment• Melodic, long high notes,

text not as important as melody

German Style• Wagner• Poetry and Music should be

one• Music Drama (not just an

“opera”)• Mythological stories• Redemption through love• Leitmotiv (leading motive)• Continuous interweaving

melodies, not very melodic• Orchestra is symphonic,

not just accompaniment

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IX) French Opera

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French Opera

• 1779: Gluck’s Iphigénie en Tauride• 1859: Gounod’s Faust• 1875: Bizet’s Carmen• 1881: Offenbach’s Tales of Hoffmann• 1884: Massenet’s Manon• 1892: Massenet’s Werther• 1902: Debussy’s Pelléas et Mélisande

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Form of French Aria• Ternary ABA Form

“Avant de quitter ces lieux” (Faust, 1859); “Je dis que rien ne m’épouvante” (Carmen, 1875)

• French Couplet (Verse 1 + Refrain, Verse 2 + Refrain)“Votre toast” (Carmen, 1875)

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Shakespeare’s Romeo and Juliet(1597-1599)

• Opera: Roméo et Juliette (1867) by Gounod• Musical: West Side Story (1957) music by

Bernstein/Lyrics by Sondheim – Jets (Caucasian) vs. Sharks (Puerto Rican); Tony and Maria

• Disney Cartoon: Pocahontas (1995) – Indians vs. English colonists; Pocahontas and John Smith

• Updated movie version: Romeo + Juliet (1996); directed by Baz Luhrmann with Leonardo DiCaprio as Romeo and Claire Danes as Juliet

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Gounod’s Opera Bernstein’s Musical• Ballroom sceneWaltz-like duet “Ange

adorable”

• Romeo’s love song: ‘Ah! lève-toi soleil!’

• Balcony SceneDuet: “O nuit divine”

• Ballroom SceneDance music based on the theme of “Maria”

• Tony’s love song “Maria”

• Balcony SceneDuet: “Tonight”

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Prologue (Shakespeare)-Sonnet

Two households, both alike in dignity, (a)In fair Verona, where we lay our scene, (b)From ancient grudge break to new mutiny, (a)Where civil blood makes civil hands unclean. (b)From forth the fatal loins of these two foes (c)A pair of star-cross'd lovers take their life; (d)Whole misadventured piteous overthrows (c)Do with their death bury their parents' strife. (d)The fearful passage of their death-mark'd love, (e)And the continuance of their parents' rage, (f)Which, but their children's end, nought could remove, (e)Is now the two hours' traffic of our stage; (f)The which if you with patient ears attend, (g)What here shall miss, our toil shall strive to mend. (g)

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Romeo’s Act II monologue (Shakespeare)

• But, soft! what light through yonder window breaks?It is the east, and Juliet is the sun.Arise, fair sun, and kill the envious moon,Who is already sick and pale with grief,That thou her maid art far more fair than she:Be not her maid, since she is envious;Her vestal livery is but sick and greenAnd none but fools do wear it; cast it off.It is my lady, O, it is my love!O, that she knew she were!She speaks yet she says nothing: what of that?Her eye discourses; I will answer it.I am too bold, 'tis not to me she speaks:Two of the fairest stars in all the heaven,Having some business, do entreat her eyesTo twinkle in their spheres till they return.What if her eyes were there, they in her head?The brightness of her cheek would shame those stars,As daylight doth a lamp; her eyes in heavenWould through the airy region stream so brightThat birds would sing and think it were not night.See, how she leans her cheek upon her hand!O, that I were a glove upon that hand,That I might touch that cheek!

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Romeo’s Act II Cavatina “Ah! Lève-toi, soleil”

Recitative: Love, love! yes, its ardor Has troubled all of my being! (a light appears in Juliette's window) But, what sudden light Dazzles at that window? It is there that in the night Radiates her beauty! Aria: (A) Ah! rise, sun! Make pale the stars Which, in the azure, without veils, Glitter in the firmament. Ah, arise! Ah, arise! Appear! Appear! Star- pure and charming! (B) She is dreaming, she unties A lock of hair Which comes to caresse her cheek. Love! Love! carry to her my vows! She speaks! How beautiful she is! Ah! I heard nothing! But her eyes speak for her! And my heart has responded! (A) repeated

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“Tonight” from West Side Story(1957, Musical)

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“La Balcon” (The Balcony) from Roméo et Juliette: de la Haine à l'Amour

(2001, Musical)

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“I still believe” from Miss Saigon (1989)KIM:Last night I watched him sleeping,my body pressed to him.And then he started speaking.The name I heard him speak was Kim...Yes, I know that this was years ago,but when moonlight fills my room I knowyou are here, still.

I still-I still believeyou will return.I know you will.My heart against all oddsholds still.

Yes, still,I still believe.I know as long as I can keep believing,I'll live.I'll live,love cannot die.You will return, you will return,and I alone know why...

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ELLEN:Last night I watched you sleeping.Once more the nightmare came.I heard you cry out something,a word that sounded like a name.And it hurts me more than I can bearknowing part of you I'll never share,never know.

But still-I still believethe time will comewhen nothing keeps us apart.My heart forever more holds still.

It's all over I'm here,there is nothing to fear!Chris, what's haunting you?Won't you let me insidewhat you so want to hide.I need you too!

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KIM & ELLEN:For still-I will hold you all nightI will make it all right!I still believe You are safe with me!As long as I But I wish you would tellwhat you don't want to tell,can keep believingI'll live! what you hell must be

I'll live,You can sleep now.you will return.You can cry now.And I know why I'm your wife nowI'm yours for life

BOTH:Until we die. 212

X) Opera and Musical

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Puccini’s La Bohème• Story of several poor artists in Paris• On of the most often produced opera in North

American• “Christmas Opera”• Rodolfo and Mimi meet and fall in love. Mimi is

getting sick and Rodolfo leaves her because he cannot afford to take care of her. Mimi dies at the end of the opera

• Inspired the Musical Rent (1996)http://www.siteforrent.com/intro.html

• Was produced as a Musical at Broadway (2003) with beautiful and handsome singers who can sing Italian operahttp://www.metrodma.com/cold_storage/private_portfolio/boheme 214

La Bohème (1896) and Rent (1996)• Mimi, a seamstress, later died of tuberculosis

Mimi (female), HIV+, stripper and heroin addict • Rodolfo, a poet

Roger (male), HIV+ musician, recovering from heroin addiction • Marcello, a painter

Mark (male), a struggling filmmaker, also the narrator of the show• Musetta, a singer

Maureen (female), a performance artist • Schaunard, a musician

Angel (“guy”), HIV+, “Drag Queen” street musician • Colline, a philosopher

Tom Collins (male), an HIV• Alcindoro, a state councilor

Joanne Jefferson (female), a Harvard-educated lawyer• Benoit, a landlord

Benny (male), a landlord

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La BohèmeMimi Musetta

LoversRodolfo Marcello

Friends “sugar daddy”Schaunard Colline

Benoit (Landlord) Alcindoro

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Rent

Mimi (HIV+) Maureen(ex)

Roger (HIV+) Mark(current)

Angel (HIV+) Collins (HIV+)

Benny (Landlord) Joanne

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La Bohème Act I• Rodolfo: ‘Che gelida manina’ (What frozen

tiny hand)– Translation:

http://www.aria-database.com/translations/boheme1_che.txt

– Pavarotti• Mimi: ‘Mi chiamano Mimì’ (People call me

Mimi)– http://www.aria-

database.com/translations/boheme2_simi.txt– Contrubas

• Duet: ‘O soave fanciulla’ (O sweet little lady)– Anna Netrebko and Rolando Villazon– Corelli and Freni: 218

Duet: ‘O soave fanciulla’(O sweet little lady)

RODOLFOOh! sweet little lady! Oh, sweetest vision,with moonlight bathing your pretty face!The dream that I see in you is the dream I'll always dream!

MIMI and RODOLFO(Oh, you rule alone, Love!)Deep in my soul trembles the deepest of passions, etc.Our kisses shudder with love!(How gently now his words of praise make their wayinto my heart...You rule alone, oh love!)No, I beg you! You're mine now! Your friends are still waiting.So soon must I leave you? I would like...I can't say it...Speak! What if I went along? What? Mimi!How sweet instead to stay behind here. It's freezing outside.I'd be right beside you! What about later? Who knows, sir?Take my arm, my dear young lady...As you say, my dear sir...Do you love me, say! I certainly do.Love! Love! Love!

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Rent Act I• “Light My Candle”

– Lyrics: http://www.theatre-musical.com/rent/libretto.html

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La Bohème (1896) and Rent (1996)La Bohème

• Aria of Rodolfo: ‘Che gelida manina’(What frozen tiny hand)

• Sì. Mi chiamano Mimi (“Yes, they call me mimi” - a famous aria of Mimi)

• “O soave fanciulla...o dolce viso di mite circonfuso alba lunar” (Oh, beautiful maiden... Oh, how sweet your face looks, its beauty softly kissed by thegentle moonlight.)

Rent

• Roger: “Cold hands”

• They call me mimi (The last phrase of “Light my Candle”)

• Roger: [Your hair in the moonlight] in “Light my candle”

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Puccini’s Madama Butterfly蝴蝶夫人 1904

• Inspires Movie: M butterfly, 1988, David Henry HwangMega Musical: Miss Saigon (Chris and Kim), 1989Movie Version of the Opera with Ying Huang 黄英

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Puccini’s Madama Butterfly蝴蝶夫人 1904

• A short story (1898) by John Luther Long → David Belasco’s play (1900)

• John Luther Long said his story was based on a true story of a Geisha at Nagasaki

• Exoticism – Japan• American “Imperialism” – Pinkerton

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Puccini’s Madama Butterfly蝴蝶夫人 (1904)

• Pinkerton (tenor), a lieutenant in the US Navy

• Cio-Cio-San (Soprano), a geisha called Butterfly, 15 years old

• Suzuki (mezzo-soprano), Butterfly’s maid• Sharpless (baritone), the US Consul at

Nagasaki

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Geisha

• Not a prostitutes!• Professional entertainers: Japanese

traditional dance, singing, Shamisenplaying, tea ceremonies, flower arrangement, etc.

• Wear colorful Kimonos with white make-up

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“Un Bel dì” (One fine day)Cio-Cio-San (Butterfly), Act II Aria

• Butterfly tries to persuade Suzuki and herself that Pinkerton will come back.

• Translation:One fine day we’ll see a wisp of smoke arising over the verge of the sea’s horizon, and afterwards the ship will appear. He’s arrived, I shall meet him… He’ll call, “Butterfly” from the distance, but I will not answer, partly to tease, and partly so as not to die at the first meeting…And this will happen, I promise you.

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XI) Operetta

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Operetta• It really means “Light Opera”• Often performed in audience’s native language• Rich in melody (i.e. “catchy” tunes) and based

on 19th-century operatic styles • Forerunner of Musical Comedy• Most popular one: Johann Strauss’ Die

Fledermaus (The bat); Gilbert and Sullivan’s Mikado and The Pirates of Penzance; Lehar’s The Merry Widow

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The Pirates of Penzance• Operetta by Gilbert and Sullivan (1879, New

York)• It was produced for Broadway (1981) with Kevin

Kline, and Linda Ronstadt!

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Ruth, the nursemaidmisheard the word “pilot” to “pirate”…

Frederic was then brought up as a pirate…

Frederic never met a girl (except Ruth), so when he saw the young ladies in the shore, he was excited!

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“I am the Pirate King”

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Oh, better far to live and dieUnder the brave black flag I fly,Than play a sanctimonious part,With a pirate head and a pirate heart.Away to the cheating world go you,Where pirates all are well-to-do;But I’ll be true to the song I sing,And live and die a Pirate King.

For I am a Pirate King!And it is, it is a glorious thingTo be a Pirate King!

For I am a Pirate King! You are!Hurrah for our Pirate King! And it is, it is a glorious thingTo be a Pirate King. It is!Hurrah for our Pirate King! Hurrah for the/our Pirate King!Darrell Fancourt as the Pirate King1926 When I sally forth to seek my preyI help myself in a royal way.I sink a few more ships, it’s true,Than a well-bred monarch ought to do;But many a king on a first-class throne,If he wants to call his crown his own,Must manage somehow to get throughMore dirty work than ever I do,

For I am a Pirate King!And it is, it is a glorious thingTo be a Pirate King!

For I am a Pirate King! You are!Hurrah for the Pirate King! And it is, it is a glorious thingTo be a Pirate King. It is!Hurrah for our Pirate King!

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Ruth’s “Confession”1. When Frederic was a little lad he proved so brave and daring,

His father thought he'd 'prentice him to some career seafaring. I was, alas! his nurserymaid, and so it fell to my lot To take and bind the promising boy apprentice to a pilot ? A life not bad for a hardy lad, though surely not a high lot, Though I'm a nurse, youmight do worse than make your boy a pilot.

2. I was a stupid nursery maid, on breakers always steering, And I did not catch the word aright, through being hard of hearing; Mistaking my instructions, which within my brain did gyrate, I took and bound this promising boy apprentice to a pirate. A sad mistake it was to make and doom him to a vile lot. I bound him to a pirate ? you ? instead of to a pilot.

3. I soon found out, beyond all doubt, the scope of this disaster, But I hadn't the face to return to my place, and break it to my master. A nursery maid is not afraid of what you people call work, So I made up my mind to go as a kind of piratical maid-of-all-work. And that is how you find me now, a member of your shy lot, Which you wouldn't have found, had he been bound apprentice to a pilot

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Oh! False One! You Have Deceived Me!

• Ruth tried to get Frederic to marry her; she said she is the most beautiful lady in the world… Well, she is the only woman Frederic has ever met in his whole life…

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• Hey, this is Frederic, the pirate. Would any lady want me?– “Oh, Is There Not One Maiden Breast”

• No lady would admit to be “plain”, but one, Mabel! – “Poor wandering one”

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FRED. Oh, is there not one maiden breastWhich does not feel the moral beautyOf making worldly interestSubordinate to sense of duty?Who would not give up willinglyAll matrimonial ambition,To rescue such a one as IFrom his unfortunate position?

GIRLS. Alas! there's not one maiden breastWhich seems to feel the moral beautyOf making worldly interestSubordinate to sense of duty!

FRED. Oh, is there not one maiden hereWhose homely face and bad complexionHave caused all hope to disappearOf ever winning man's affection?To such an one, if such there be,I swear by Heaven's arch above you,If you will cast your eyes on me,However plain you be I'll love you!

GIRLS. Alas! there's not one maiden hereWhose homely face and bad complexionHave caused all hope to disappearOf ever winning man's affection!

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FRED. (in despair) Not one? GIRLS. No, no – not one! FRED. Not one? GIRLS. No, no! MABEL enters. MABEL. Yes, one! GIRLS. 'Tis Mabel! MABEL. Yes, 'tis MabelMABEL. Oh, sisters, deaf to pity's name, For shame! It's

true that he has gone astray, But pray Is that a reason good and true Why you Should all be deaf to pity's name?

GIRLS. (aside) The question is, had he not been A thing of beauty, Would she be swayed by quite as keen A sense of duty?

MABEL. For shame, for shame, for shame!

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Mabel’s aria: “Poor Wand’ring One”

No daughter would admit to be “plain”, but one, Mabel! And she sings “Poor wandering one”

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MABEL. Poor wandering one!Though thou hast surely strayed,Take heart of grace,Thy steps retrace,Poor wandering one!Poor wandering one!If such poor love as mineCan help thee findTrue peace of mind –Why, take it, it is thine!Take heart, fair days will shine;Take any heart – take mine!

GIRLS. Take heart; no danger lowers;Take any heart-but ours!

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XII) 20th century and beyond

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Suggested operas• Berg’s Wozzeck (1925)• Nixon in China (1987)

– Music by John Adams and libretto by Alice Goodman

– An amazing scene related to the Red Detachment of Women (紅色娘子軍), one of the eight model plays (樣板戲)

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XIII) Opera and China

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Puccini’s Turandot (1924)

Puccini’s last work, unfinished, completed by his friend (Alfano)

after his death.

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Turandot, an icy and beautiful princess of Peking, decrees that she will only marry the

first man who can answer three riddles. Those who fail will be beheaded. Calaf, an unknown prince, answers the riddles correctly (after a lot

of “chopping head” ahead of him). But Turandot pleads with the Emperor to release

her from the agreement to marry.

Hey! La Donna è mobile! What can you do?

Puccini’s Turandot (1924)

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Calaf intervenes, and offers her a riddle: If Turandotcan find out his name in a day, he shall die, otherwise,

she will marry him. The Royal court orders the whole city that no one may

sleep until the name is discovered.Calaf then sings “Nessun dorma” (No one sleeps) and

is confident of his victory.The people of Peking fail to find out his name, even after forcing Liú to commit suicide. But Calaf is so

confident that he tells the Princess his name anyway.The Princess then announces his name in the public:

“Amor”

Kind of Lieto Fine…

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Turandot at the Forbidden City of Beijing

• 1998, directed by Zhang Yimou, conducted by Zubin Mehta

• Turandot at the Forbidden City of Beijing, RCA, 1998– Starring: Giovanna Casolla, Sergej Larin– Directors: Ruth Käch, Hugo Käch

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“In Questa Reggia” (In this palace)

• An aria sung by Turandot, to explain why she hates man. Turandot is a dramatic soprano.

• Birgit Nilsson• Eva Marton• Lyrics and translation:

http://www.aria-database.com/translations/turandot04_in.txt

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Wonderful Online Resources for Lesson Plan

• Metropolitan opera:http://archive.operainfo.org/broadcast/archive/

• Royal Opera Teachers’ Packs:http://info.royaloperahouse.org/Education/Index.cfm?ccs=436&SubNavMenu=6

• San Francisco- Classroom Materials:http://sfopera.com/p/?mID=31

• Los Angeles Opera Lesson Plan:http://www.laopera.com/educom/lessonplans.htm

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Suggested Reading Materials:• Pogue, David and Scott Speck. Opera for

Dummies. Wiley Publishing, 1997.• Plotkin, Fred. Opera 101 : A Complete Guide

to Learning and Loving Opera. Hyperion, 1994.

• Barber, David W. When The Fat Lady Sings. Sound and Vision, 1990.

• Grout, Donald Jay and Hermine WeigelWilliams. A Short History of Opera. Columbia University Press, 2003.

• Parker, Roger, ed. The Oxford Illustrated History of Opera. Oxford University Press, 1994.

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Strategy of Teaching Opera• Introducing the art of opera to the students

as something everyone can understand and enjoy - “Common man” approach

• Emphasizing Opera is related to other cultures, including pop culture

• Developing student’s appreciation through exploring the interrelationship between drama and music

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Useful Online Resources• Aria Translation:• http://www.aria-database.com• Synopsis of Opera:• http://www.naxos.com/education/opera_syno

pses.asp?char=A• Music Dictionary with pronunciation sound file:• http://www.music.vt.edu/musicdictionary/• Opera Libretto and more:• http://opera.stanford.edu/

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Wonderful Online Resources for Lesson Plan

• Metropolitan opera:http://archive.operainfo.org/broadcast/archive/

• San Francisco- Classroom Materials:http://sfopera.com/p/?mID=31

• Los Angeles Opera Lesson Plan:http://www.losangelesopera.com/educom/lessonplans.aspx

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Poet Li Bai (李白), 2007 by Guo Wenjing郭文景

• Synopsis:http://www.centralcityopera.org/index.cgi?CONTENT_ID=71

Hao Jiang Tian田浩江 andYing Huang 黃英; as Li Bai and Moonin the world premiere

The opera will be “landed”in HK on Dec 4 and 6!http://www.lcsd.gov.hk/CE/CulturalService/Programme/en/music/00000103.html