Verdi Forum Number 16 Article 1 1-1-1988 How Verdi's Operas Begin: An Introduction to the Introduzioni David Rosen Cornell University Follow this and additional works at: http://scholarship.richmond.edu/vf Part of the Musicology Commons Recommended Citation Rosen, David (1988) "How Verdi's Operas Begin: An Introduction to the Introduzioni," Verdi Forum: No. 16, Article 1. Available at: http://scholarship.richmond.edu/vf/vol1/iss16/1 This Article is brought to you for free and open access by UR Scholarship Repository. It has been accepted for inclusion in Verdi Forum by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. How Verdi's Operas Begin: An Introduction to the Introduzioni Keywords Giuseppe Verdi This article is available in Verdi Forum: http://scholarship.richmond.edu/vf/vol1/iss16/1 How Verdi's Operas Begin: an Int roduction to the "lntroduzioni" 1 David Rosen, Cornell University One of the most intriguing alterations denote anything from an opening chorus (e.g. made during Verdi's transformation of Ernani) to a complex organism making Stiffelio (1850) into Aro/do (1857) is his extensive use of the chorus, but not replacement of the elaborate introduzione of necessarily right at the opening (e.g., the the earlier opera with an off-stage chorus opening tableau of Rigoletto). That the term and the (newly-written) preghiera (prayer). is not used in l masnadieri and !/ corsaro-­ To be sure, there are problems specific to where the chorus is off stage and therefore this particular introduzione that may have at least visually subordinate -- might suggest led Verdi to make this drastic change, and I .the further requirement that the chorus be shall take them up in due course. But it is prominent and on stage. There are counter­ important to view this particular revision in examples, however: although the chorus is the broader context of Verdi's changing off stage in Aro/do and Don Carlos. Verdi strategies for getting an opera underway. labeled both openings "introduzione" (or The principal subject of this brief study, "introduction"). then, is Verdi's opening gambits, from the 2. Where does the "introduzione" end? beginning of his career through Aida.2 -- that is, at what point does the first Let us begin with what might be called number (e.g., "2. Introduzione") end and the the semantic approach: how does Verdi label next number (e.g., "3. Scena e Cavatina") the opening sections of his operas in the begin? Stendhal's overly neat definition that autograph scores -- in particular, how does the term refers to "everything sung from the he use the crucial term "introduzione"?3 end of the overture to the first recitative" Verdi's division and labeling of the numbers simply does not work for Verdi.• Almost all of his scores, while never intended as numbers labeled "introduzione" which consist rigorous musical analyses and therefore not of more than just an opening chorus contain without inconsistencies, offer useful clues passages of recitative.5 Indeed, the about his view of the structure of his "introduzioni" of Stiffelio. !/ trovatore and operas. They are clearly more valuable Simon Boccanegra (1881 version) even begin evidence than the indications found in early with recitative. As a general guideline, the Ricordi scores, which regularly break up following would be closer to the mark: (I) in larger unified structures like introduzioni Verdi's usage, "introduzione" may simply and finali into smaller, easily marketable refer to the opening chorus, as in the works "pezzi staccati". An example from Stiffelio: listed under II -- there the chorus is what Ricordi printed and sold as three followed by a solo which, as we shall see, is separate pieces "2. lntroduzione e less integrated with the chorus than in Racconto", "3. Scena e Settimino", and "4. Group IV. Otherwise, (2) the typical Verdi Seguito e Stretta dell'lntroduzione" -- Verdi "introduzione" ends when the chorus leaves had labeled as "lntroduzione" and numbered the stage.6 as a single piece. Table I details his use of Verdi's use of "introduzione" in later the word "introduzione" in the first act, acts--see Table II--adds little to our our primary concern here. There are two understanding of the term, partly because fundamental questions. Verdi does not · employ it consistently I. For Verdi what are the defining throughout his career. After Macbeth characteristics of the term "introduzione"? (1847), he prefers the label "coro" for a The sine qua non is the presence of a chorus opening an act subsequent to the chorus, but in Verdi's usage the term may first, even when it is no different in form 3 4 David Rosen or function from those choruSP,S that he in the cabaletta. If the chorus sings off earlier labeled "introduzione". The term stage at first (Subgroup 2), it will enter in generally refers simply to a chorus at the time to participate in the solo piece. In opening of an act; it seems to be immaterial both cases, once the cabaletta is finished, whether the following number is a solo or the chorus and soloist leave the stage an ensemble. together .10 In Table III I propose a typology of In almost all of these cavatinas the Verdi's openings which takes account of slow movement is preceded by a section of Verdi's own terminology but is based on an versi sciolli (unrhymed and freely alternating independent examination of the works. It sellenario and endecasillabo lines) set as goes without saying that with phenomena as recitative. In three libretti written or complex as musical compositions there is revised by Solera, however, the versi lirici neither a single "correct" set of categories continue through the end of the cavatina, a nor even a single "correct" way of conservative link with the Rossinian distributing the works into a given set of inlroduzione.11 In Oberlo, there is no categories. separate text for a recitative--the opening Nearly two-thirds of the openings chorus is followed directly by the text for consist of a chorus -- almost never including the slow movement of Riccardo's cavatina. solo parts -- followed by a solo (see Table Verdi sets the first two lines as a III (I]). This combination of chorus and declamatory phrase, sung a piacere, solo is ultimately derived from the practice cadencing into the slow movement proper. of Verdi's predecessors. Philip Gossett In both the "Reci(tativo e] Cavatina describes Rossini's simplest i111roduzio11e Zaccaria" (Nabucco) and the "scena e form as consisting of three parts: "a) an Cavatina Odebella" (Alli/a), the text provided opening movement for chorus, sometimes for the recitative (or scena) is in versi with solo parts for minor characters; b) a lirici. Verdi's setting of Zaccaria's speech slow movement, often introducing a major (beginning with "Sperate, o figli" lacks the character; c) a final cabaletta for the major flexibility of a true recitative built upon character, with assistance from the chorus versi scio/1i; it often repeats the same text­ and others on stage." 7 Typically, this determined rhythmic pattern, an effect complex is entirely in versi lirici (i.e., encouraged by the rhythmic regularity of rhymed, scanning verse)--a corollary of versi lirici. Although this effect would be Stendhal's definition quoted above -- and is inappropriate in most recitatives, Verdi may tonally closed. This description fits the have found it suitable for the solemn inlroduzione of Un giomo di regno intonations of Zaccaria. (For a similar perfectly, 8 but the structure found in most example, see Pagano's ceremonial speech, early Verdi operas is much simpler, much "Qui nel luogo santo e pio" in the more loosely constructed. introduzione of I lombardi.) On the other In ten of Verdi's first thirteen hand, Verdi sets Odabella's scena in operas--that is, through !/ corsaro--an parlanle, that is, as though it were to be opening chorus is followed by a two­ the 1empo d'allacco of a duet.12 movement entrance aria, the so-called What follows this pairing of chorus and "cavatina". See Group I A of Table 111.9 cavatina depends upon who sings the Even though Verdi generally gives separate cavatina. In Subgroups I and 2 of Group l titles to the two pieces, the "introduzione" A, it is the tenor in seven of nine cases. (chorus) and the "cavatina" (or "aria") are After his cavatina, there is a scene change perceived as a scenic unit, though not as (except for Oberto, where the stage is tightly-knit a unit as is found in Rossini. cleared but without a scene change), and the The opening chorus is generally sung on process of developing the dramatic action stage, and (except in I due Foscari) the must begin anew. The interaction of chorus remains on stage to takes a characters in duets occurs only after the prominent part in the solo piece, especially soprano has sung her entrance aria. This How Verdi's Operas Begin 5 aria may follow immediately (Oberlo, Ernani, beginning of the action, but not when the I due Foscari, II corsaro). or the baritone action is at its height."14 Placing the two­ may precede her, either with a sce11a movement aria of the baritone, Verdi's most (Giovanna d'Arco) or with his cavatina complex, most interesting character, at the ( Alzira and I masnadieri). After the self­ beginning - - before suitable dramatic contained unit featuring the tenor, the situations (posizioni drammaliche, to use soprano must therefore act as catalyst to Verdi's term) have had a chance to develop, initiate the action. would be a wasted opportunity.