Handel a Foreign Land Baroque Music

TAMERLANO TamerlanoGEORGE FRIDERIC HANDEL A FOREIGN LAND BAROQUE MUSIC Imagine entering the world of Handel’s Tamerlano Handel was a composer during what is now historyas entering a foreign country. In order to understand referred to as the Baroque period in music. The this foreign land, you must first understand its Baroque style was also manifested in such artistic history. The winding and complex plot of Handel’s forms as architecture and visual art. The defining Tamerlano is rooted in ancient eastern history. In characteristic of all art forms during this period was bringing the story to life on stage, directors must ornamentation; basic artistic structures and forms take great care not to lose the audience as a host of grew in complexity and there was an increased characters with bizarre names travel to a multitude reference to such grand emotions as love and of ancient eastern locations. revenge. It was during this period that opera was born. This early example of opera is now referred In addition to its intricate plot, Tamerlano features to as opera seria. The term “baroque” comes from a musical style that may not be familiar to you. the Italian word barocco, which philosophers used Handel composed operas nearly 400 years ago, to describe a contorted idea or a long, involved so his works have a distinctly different sound thought process. Aptly describing baroque opera and structure from the more well known operas seria, this new art form meant to instruct the composed during the last 200 years. Though audience using a format that echoes ancient Greek Tamerlano may be as foreign to you as a far off tragic theater. country, understanding what Handel meant to Ancient Greek Statue portray in this ancient story will make your journey rich and memorable. HISTORY INFLUENCES STORY The protagonist in Tamerlano is based on a historical figure, Timur “the lame.” He was a Turkish nomadic bandit who became emperor of Central Asia during the later half of the 14th century. He conquered an empire that, in modern times, encompasses southeastern Turkey, Syria, Iraq, Kuwait, Iran, Kazakhstan, Afghanistan, Azerbaijan, Georgia, Turkmenistan, Uzbekistan, Kyrgyzstan, Pakistan, northwestern India, and southwest China. Many artists throughout history have been inspired by Timur’s story. Christopher Marlowe, a contemporary of William Shakespeare, wrote a play depicting his conquests called Tamberlaine; Edgar Allen Poe wrote a poem entitled Tamerlane; and even Microsoft created a videogame, “Age of Empires II,” featuring a hero named Tamerlane. Handel’s opera is based on Jacques Pradon’s play, Tamerlan, ou La mort de Bajazet. To the western world, this story of a bandit rising to become an emperor in the Middle East was an exotic and fascinating spectacle—perfect subject matter to captivate an audience. OPERATIC STRUCTURE da capo is not only to give the singer a chance to display their vocal skill, but also to delve deep into the emotion exploring each nuance and bringing it Seeking to bring back the conventions of Greek forward through expression to the audience. tragedy also explains the formal structure of baroque opera. Greek tragedy alternated between episodes (spoken monologue or dialogue) and stamisa (songs sung by the chorus). Baroque THE HEROIC HIGH VOICE opera is similarly made up of recitative (sung- spoken dialogue with minimal accompaniment) The characters of Andronico and Tamerlano in and da capo arias (songs with a specific three-part Tamerlano are each sung by countertenors, men structure). who sing in a high range similar to a soprano. In baroque opera seria, the countertenor role is usually The three-part structure breaks down like this: the hero. Handel departed from the norm and wrote the part of the hero for a tenor voice. This does - The first section of a da capo aria could, in not mean, however, that Andronico and Tamerlano theory, be sung on its own and not sound like lack heroic qualities. Handel preferred to paint anything was missing. these two characters in a more controversial light, - The second section compliments the first but highlighting both their heroic and barbaric traits. varies in tempo, musical texture, and mood (similar to a “bridge” in contemporary musical Although, at first, countertenors may seem like form). men singing like women, take a moment to think - The third section is the da capo, which is about songs you know where the lead male singer Italian for “back to the beginning.” The first sings in falsetto, hitting high notes. Operatic roles section is sung a second time, but the melody is for this voice type have always been rare, but, in improvised on (or “ornamented”) by the singer contemporary music, men who sing in falsetto are in order to show off their vocal acrobatics. common. You might agree that even today these stars have a heroic quality to them. Although this You may hear a similar technique in jazz. The first voice and its heroic nature can be traced as far back part of the song is played “straight up” or as written as ancient Middle Eastern and African religious and and is followed directly by the bridge. The song cultural traditions, listen to the following songs from returns to the “head” or beginning, but the original the 20th century. Other artists who have mastered melody is improvised on by the lead instrument or the high range in popular music include Justin vocalist. A vocalist improvises by “scatting” around Timberlake, Michael Jackson, Queen, The Bee the melody while still keeping it recognizable. Gees, and Frankie Valli. In baroque opera, the alternation of recitative and SIDE NOTE: In Washington National Opera’s 2008 production of da capo arias is used deliberately. Recitative is Tamerlano, the part of Andronico is sung by a woman. dialogue or monologue that advances the action In opera this is referred to as a “trouser role.” Although of the plot. During an aria, no action takes place. not entirely unheard of in Handel’s time, women singing This is the moment where the character steps out the roles of young men in opera became more common of the action and sings about his or her emotions. several hundred years later and the tradition is still The reason the aria’s first section is repeated in the honored today. CONTEMPORARY EXAMPLES OF THE HEROIC HIGH VOICE SONG TITLE: ARTIST/ALBUM: All the Way up to Heaven Guster—Lost and Gone Forever Clocks Coldplay—A Rush of Blood to the Head Somewhere Over the Rainbow Israel Kamakawiwo Ole Africa Toto CULTURE WARS The history of humankind reveals a perpetual struggle between the cultures of dominant societies and weaker societies. From Babylon to Egypt, Carthage to Greece, Greece to Rome, Europe to North Africa, design Spain to England, England to France, France to Germany, China to Japan, Europe to the United States, history can be benchmarked by a succession of one culture’s dominance over another. It naturally follows that artistic works celebrate the dominant culture, which is driven by people in power who are influenced by love, greed, jealousy, envy, and, of course, pure power itself. Tamerlano, in essence, is such an artistic creation illustrating how these human emotions drove those in power to seek dominance over others. VIRTUAL TAMERLANO! (Inspired by Age of Empires II) Once again, imagine you are entering a “new world” of Tamerlano, but this time it is a virtual world. Pick a character from the list below, and imagine that strangers from across the world have assumed the roles of the other characters. Each character has certain traits. Add to your character’s list of traits, filling in such details as: How would your character dress or act? What is your character’s history? Under what circumstances did he or she grow up? What beliefs does the character hold dear? What grudges, if any, does the character have? CHARACTERS MOTIVATIONS Tamerlano: Someone… All powerful conqueror • wants to kill someone else Engaged to marry Irene • wants to assassinate a leader Strongly attracted to Asteria • wants to commit suicide • takes poison because they have no other Andronico: option Best Friend of Tamerlano • hopes that love will win over revenge In love with Asteria • pleads for mercy for someone else Told to marry Irene • manipulates a friend to get what he/she wants Bajazet: • disguises him/herself to find out more Prisoner of Tamerlano information Father of Asteria Proud even in defeat Irene: In what ways could this story unfold with these Engaged to marry Tamerlano characters and plot turns? Use these puzzle Friends with Andronico pieces of a plot to create your own story, and, Friends with Asteria when you see the opera, compare it with the story you created. How does your story end? Asteria: Who wins, and what does it mean to win? Daughter of Bajazet In love with Andronico Faithful to those she loves Leone: Friend of Andronico Wants to help Irene Wise, but has no influence over others A BAROQUE OPERA IN A SET DESIGN ILLUSTRATES designMODERN DAY SETTING MORE THAN SETTING Tamerlano is about the title character brutally In life and on stage, the setting has a greater impact overthrowing different rulers, showing no mercy, and on how you feel and than you may be aware of. appropriating lands as his own. If we were to see Imagine that you are visiting another country and this story unfold as it did in the ancient Middle East, going through customs. The customs officers decide it would look very bloody and even barbaric to us to question you further and bring you into a private now. However, that does not mean that one culture room.

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