An Analysis of the Representation of Queen Elizabeth I of England In

Home , Andrea Maffei, Domenico Barbaia, Eduardo e Cristina, Giovanni Schmidt, Giuseppe Bardari, Isabella Colbran

AN ANALYSIS OF THE REPRESENTATION OF QUEEN ELIZABETH I OF ENGLAND IN

THE OPERAS BY ROSSINI, DONIZETTI, AND THOMAS IN THE CONTEXT OF

NINETEENTH-CENTURY VOCAL STYLE AND HISTORICAL INFLUENCE

Han Hsiao, B.M., M.M.

Dissertation Prepared for the Degree of

DOCTOR OF MUSICAL ARTS

UNIVERSITY OF NORTH TEXAS

August 2020

APPROVED:

Molly Fillmore, Major Professor and Chair of the Division of Vocal Studies Jennifer Lane, Committee Member Stephen Dubberly, Committee Member Felix Olschofka, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School

Hsiao, Han. An Analysis of the Representation of Queen Elizabeth I of England in the

Operas by Rossini, Donizetti, and Thomas in the Context of Nineteenth-Century Vocal Style and

Historical Influence. Doctor of Musical Arts (Performance), August 2020, 46 pp., 3 tables, 1 figure, 25 musical examples, bibliography, 39 titles.

The purpose of this research is to analyze representations of Queen Elizabeth I of

England in nineteenth-century Franco-Italian opera, and the relationship of these representations to contemporaneous singing style and the historical background. The basis for this analysis is three arias: "Quant'é grato all'alma mia" from Elisabetta, regina d'Inghilterra (1815) by

Gioachino Rossini (1792-1868), "Sì, vuol di Francia il rege...Ah! quando all'ara scorgemi...Ah! dal ciel discenda un raggio" from Maria Stuarda (1835) by Gaetano Donizetti (1797-1848), and

"Malgré l'éclat qui m'environne" from Le songe d'une nuit d'été (1850) by Ambroise Thomas

(1811-1896).

This research is divided into two main sections: the historical background of Italy and

France in the nineteenth century, especially in the contemporaneous vocal style and fashions of literature; and a discussion of the composers' musical and dramatic choices for Queen Elizabeth I in the three selected arias. Chapter 2 is a brief introduction to the early nineteenth-century

Franco-Italian historical background, vocal style, and popular literature. Chapter 3 presents an analysis of the three arias. The last chapter summarizes the representations of Elizabeth I in nineteenth-century politics, literature, and vocal style.

Han Hsiao

ii TABLE OF CONTENTS

Page

LIST OF TABLES AND FIGURES...... iv

LIST OF MUSICAL EXAMPLES ...... v

CHAPTER 1. INTRODUCTION ...... 1

CHAPTER 2. CONTEMPORANEOUS FRENCH AND ITALIAN VOCAL WRITING AND CULTURE IN THE NINETEENTH CENTURY ...... 3 2.1 Brief Historical Summary ...... 3 2.2 Vocal Style ...... 6 2.3 Literature ...... 9

CHAPTER 3. INTERPRETATION OF THE MUSICAL STYLE PORTRAYING QUEEN ELIZABETH I ...... 13 3.1 Italian Opera...... 13 3.1.1 Gioachino Rossini (1792-1868) ...... 13 3.1.2 Gaetano Donizetti (1797-1848) ...... 27 3.2 French Opera: Ambroise Thomas (1811-1896) ...... 36 3.2.1 Historical Background ...... 36 3.2.2 Scene and Translation ...... 37 3.2.3 Musical Analysis ...... 38 3.2.4 Conclusions ...... 41

CHAPTER 4. CONCLUSIONS ...... 43

BIBLIOGRAPHY ...... 44

iii

LIST OF TABLES AND FIGURES

Page

Tables

Table 3.1: “Quant’é grato all’alma mia” Lyrics ...... 14

Table 3.2: “Si, vuol di Francia il rege… Ah, quando all’ara scorgemi…Ah! Dal Ciel discenda un raggio” Lyrics ...... 30

Table 3.3: “Malgré l’eclat qui m’environne” ...... 37

Figures

Figure 2.1: Napoléon on his Imperial throne ...... 4

LIST OF MUSICAL EXAMPLES

Page

Example 3.1: “Quant’é grato all’alma mia,” mm. 15-20 ...... 15

Example 3.2: “Quant’é grato all’alma mia,” mm. 15-26 ...... 16

Example 3.3: “Quant’é grato all’alma mia,” mm. 21-23 ...... 17

Example 3.4: “Quant’é grato all’alma mia,” mm. 19 and 21 ...... 18

Example 3.5: Semiramide, “Bel raggio lusinghier,” m. 6 ...... 18

Example 3.6: “Quant’é grato all’alma mia,” mm. 61-63 ...... 19

Example 3.7: “Una voce poco fa,” mm. 55-63 ...... 19

Example 3.8: “Quant’é grato all’alma mia,” mm. 61-69 ...... 20

Example 3.9: “Quant’é grato all’alma mia,” mm. 64-72 ...... 21

Example 3.10: “Quant’é grato all’alma mia,” mm. 67-75 ...... 21

Example 3.11: “Quant’é grato all’alma mia,” mm. 76-81 ...... 22

Example 3.12: “Quant’é grato all’alma mia,” mm. 88-95 ...... 23

Example 3.13: “Quant’é grato all’alma mia,” mm. 96-99 ...... 24

Example 3.14: “Quant’é grato all’alma mia,” mm. 130-32 ...... 25

Example 3.15: “Quant’é grato all’alma mia,” mm. 117-18 ...... 25

Example 3.16: “Si, vuol di Francia il rege… Ah, quando all’ara scorgemi…Ah! Dal Ciel discenda un raggio,” mm. 9-21 ...... 31

Example 3.17: “Si, vuol di Francia il rege… Ah, quando all’ara scorgemi…Ah! Dal Ciel discenda un raggio,” mm. 25-35 ...... 32

Example 3.18:“Si, vuol di Francia il rege… Ah, quando all’ara scorgemi…Ah! Dal Ciel discenda un raggio,” mm. 36-42 ...... 33

Example 3.19: “Si, vuol di Francia il rege… Ah, quando all’ara scorgemi…Ah! Dal Ciel discenda un raggio,” mm. 27-35 ...... 34

Example 3.20: “Malgré l’eclat qui m’environne,” mm. 14-20 ...... 38

Example 3.21: “Malgré l’eclat qui m’environne,” m. 28, half-diminished seventh chords ...... 39

Example 3.22: “Malgré l’eclat qui m’environne,” m. 60, French augmented sixth chord ...... 39

Example 3.23: “Malgré l’eclat qui m’environne,” mm. 61-67 ...... 40

Example 3.24: “Malgré l’eclat qui m’environne,” mm. 72-78 ...... 40

Example 3.25: “Malgré l’eclat qui m’environne,” mm. 92-101 ...... 41

vi CHAPTER 1

INTRODUCTION

The European history of the nineteenth century, complex and changeable, also affected the development of literature, vocal style, and musical composition. One of these developments was a surge in interest in Queen Elizabeth I as a primary subject for operas and other artistic endeavors. The subject matter of eighteenth-century operas had been largely confined to either classical and mythological subjects or historical events. In the nineteenth century, however, librettists from the continent of Europe spread opera plots all over Britain. As Winton Dean mentions in his book Essays on Opera, “one of the colorful by-products of the Romantic movement was the sudden popularity of the British Isle as a station for opera, and of English or

Scottish history as a foundation—however remote—for the details of the plot.”1 Librettists from

continental Europe in the nineteenth century found a wealthy trove of material in British history, literature, and themes.

Queen Elizabeth I has frequently appeared as the main character in operas since the nineteenth-century. Donizetti, one of the greatest opera composers, wrote four operas dealing with the Tudor period in English history, three of them featuring Queen Elizabeth. In order of composition they are: Il castello di Kenilworth (1829),2 Maria Stuarda (1834-35), and Roberto

Devereux (1837).3 In addition, there are two operas by great composers in the late nineteenth to

1 Winton Dean, Essays on Opera (Oxford: Clarendon Press, 1990), 182. 2 Il castello di Kenilworth, a tragic opera by Gaetano Donizetti to a libretto by the Italian librettist Andrea Leone Tottola, best known for writing librettos for Donizetti and Rossini, such as La zingara, La donna del lago, and Zelmira. 3 Roberto Devereux, a tragic opera by Gaetano Donizetti to a libretto by the Italian librettist Salvadore Cammarano, best known for writing the libretto for Donizetti’s Lucia di Lammermoor.

twentieth century: Merrie England (1902) by Edward German (1862-1936)4 and Gloriana

(1953) by Benjamin Britten (1913-1976).5

Yet the coverage of Queen Elizabeth I in musical research does not match her historical

importance. Research studies about her are mostly short articles, especially for operas other than

Donizetti’s Tudor trilogy. The present study is an attempt to acknowledge the deep interest in

British history that was prevalent in nineteenth-century opera, and to provide a musical analysis of Elizabeth’s presence in selected operas. I begin with a brief overview of French and Italian political history from the French Revolution to the mid-nineteenth century and discuss how that history affected tastes and practices in the arts. Three opera arias are analyzed to give a better understanding of how the works about Elizabeth reflect contemporaneous politics, literature, and vocal style.

4 Merrie England, an English comic opera by Edward German, libretto by the English librettist Basil Hood, best known for his adaptations of operettas such as The Merry Widow. 5 Gloriana, an opera by Benjamin Britten to a libretto by the South African and British author William Plomer, who also wrote the libretti for Britten’s three church parables: Curlew River, The Prodigal Son, and The Burning Fiery Furnace. (Gloriana was first performed in London for the celebration of the coronation of Queen Elizabeth II.)

2 CHAPTER 2

CONTEMPORANEOUS FRENCH AND ITALIAN VOCAL WRITING AND CULTURE IN

THE NINETEENTH CENTURY

2.1 Brief Historical Summary

The Industrial Revolution (1760-1840) had a major impact on agriculture, manufacturing, and transportation, beginning in Great Britain and subsequently affecting the whole of Europe and eventually the world. The development of industry made improvements of musical instruments more substantial, providing more possibilities in musical performance. Affordable pianos, printed music, and the rise of the middle class made music reach a wider public, as the middle class became the main consumers in society.6 These changes also expanded the audience

for music, and opera companies, professional orchestras, and concert halls grew in number and

size.7

The French Revolution broke out in 1789 as a reaction to the absolute power of the king

and the privilege and wealth of the aristocracy, and as a reflection of the new democratic liberal

ideals first expressed in the American Revolution.8 In 1793, Louis XVI became the only

executed monarch in French history, and his death heralded the end of a French monarchy that

had lasted for nearly a thousand years. The French Revolution was not just a political revolution,

but a social and cultural one that reflected people’s changed views of the world.

In 1799, General Napoléon Bonaparte (1769-1821) orchestrated the Coup of 18 Brumaire

and became the First Consul of the Republic. Even after he further consolidated power and

6 J. Peter Burkholder, Donald Jay Grout, and Claude V. Palisca, A History of Western Music, 8th ed. (New York: W. W. Norton, 2006), 567. 7 Ibid. 8 Christopher Brooks, Western Civilization: A Concise History, Vol. 2 (Portland, OR: Portland Community College, 2019), 227.

crowned himself emperor in 1804, the impact of Napoléon’s succession continued to support the ideals of “Liberté, Egalité, Fraternité” (liberty, equality, brotherhood) which had been the popular motto and battle cry of the French Revolution.

Figure 2.1: Napoléon on his Imperial throne9

Napoléon I proceeded to export the Revolution to the rest of Europe. He established the

“Regno d’Italia” (The Kingdom of Italy) in Northern Italy in 1805 and ruled it until 1814. The ideals of the French Revolution expanded in step with Napoléon’s conquests. But France’s dominance in Europe decreased markedly after the failed French invasion of Russia in 181210 and the country no longer able to recuperate its former glory.11

9 Napoléon on his Imperial throne (public domain). 10 The French Invasion of Russia (1812), known as The Russian campaign in France, was a war for European supremacy between France and Russia. It became the subject of The Year 1812 Solemn Overture, more popularly known as the 1812 Overture, by Pyotr Ilyich Tchaikovsky (1840–1893). The French invasion of Russia (1812), known in France as “the Russian campaign”, was to become memorialized in The Year 1812 Solemn Overture (1880), more popularly known as the 1812 Overture, by Pyotr Ilyich Tchaikovsky (1840–1893). 11 Andrew Roberts, Napoleon: A Life (New York: Penguin, 2014)), xxxiii.

France and Britain had a hostile relationship and were often at war, as they had been intermittently since the eleventh century.12 Britain played a key role in the Coalition Wars (1792-

1815), a series of seven wars between Europe and France. Napoléon's defeat in the Russian war gave the British and their allies the opportunity to assemble troops to attack France. Napoléon was eventually defeated in 1814, and the agreements of the Congress of Vienna in 1815 restored countries to their pre-war conditions, ensuring that they were no longer threatened by France.

The Italian peninsula was once again largely ruled by Austria.13

The French Revolution and the Napoleonic war, while causing their own damage and hardships, also brought about many improvements to society, including significant artistic progress. Napoléon understood the value that the arts could provide for his régime, and he was determined to restore the primacy of music and opera.14 Opera performances provided the emperor with a public but controlled occasion. At the same time, the rise of the middle class had led to a change and expansion in audiences. Opera performances were no longer just gatherings of the élite.15

Around the time of Napoléon’s complete defeat in 1814, operas began reflecting the larger themes and aesthetics of Romanticism. Librettists increasingly turned for their subjects not to myth and legend, but to medieval or Renaissance stories with recognizably historical backgrounds and characters, including England’s queens Anne Boleyn and Elizabeth I.16 The emergence of this new type of opera has an ironic twist: at a time when many people dared not to

12 Brooks, Western Civilization, II, 17–19. 13 Ibid., II, 22–27. 14 Daniel Snowman, The Gilded Stage: The Social History of Opera, 100. 15 Ibid., 103. 16 Snowman, Gilded Stage, 103.

talk openly about politics, they were drawn to music with wilder and less restricted emotional

expression. The subsequent rise of bourgeois democracy and the establishment of capitalist

economic systems further cemented these cultural changes. Literary Romanticism combined with

the bel canto tradition, creating a new style of singing.

2.2 Vocal Style

Opera first appeared in Italy at the beginning of the seventeenth century, then spread

throughout Europe. During the eighteenth century, Italian opera remained the mainstream model

in Europe. Bel canto, “beautiful singing” in Italian, was a singing style created in Italy in the

seventeenth century that reached a peak of virtuosity in the nineteenth century. It is characterized

by effortless technique, an equally beautiful tone through the entire range, agility, flexibility, and

control of the lyrical, embellished, and florid melodies.17 Bel canto may have originated in Italy,

yet its production was related closely not only to the development of European music, but to

human cultural ideology, and reflected developments in society.

Seventeenth century European music schools were dominated by vocal students, many of them castrati. By the late seventeenth century, these singers became the protagonists in operas, and most of the leading male roles were written specifically for them.18 Their virtuosic singing

made great contributions to the development of European vocal art, laid the foundation of Bel

canto, and promoted the emergence and development of opera.

In the seventeenth and eighteenth centuries, in order to be successful on the stage, singers

had to sing their fioratura and ornamental graces perfectly and easily without flaws or

17 Burkholder, Grout, and Palisca, History of Western Music, 666. 18 Ibid., 418.

omissions.19 Operatic singing was an art form of dazzling skills, and the lyrics, generally sung

first in a medium close to speech range, were then supplanted by highly florid singing on single

phonemes. The “Suitcase Aria” appeared, also called the “baggage aria” or “aria di baule,”20

taken out of the context of the original opera and carried by singers in their baggage when they

traveled. These arias might be sung in multiple operas to show off the singers’ technique and

often received the greatest audience response in the singers’ performances.21 This phenomenon

gave singers precedence over composers.22

Such a piecemeal approach led to opera reform in the middle of the century. This reform

advocated the presentation of “nature,” more flexibility in structure, more reliance on expression

of text, music less ornamented by florid passages, and new instrumental resources.23 In addition,

music and libretto achieved equal importance in vocal music.24 In the late eighteenth century, as

the theater became more prosperous, women demanded to break through the feudal restraints and

be allowed to sing on stage. And as mature male singing skills developed, castrati were gradually

replaced and eventually disappeared.

At the beginning of the nineteenth century, frequent wars and political shifts led people to

look for truly peaceful spiritual sustenance in the fields of music, art, and literature. In the history

of Western music, before Rossini’s appearance, opera presented a gorgeous and stunning singing

style, but nineteenth-century audiences had new expectations. Singers needed to have both a

19 Fioritura, which means “flourish” or “flowering,” is the florid embellishment of melodic lines, either notated by a composer or improvised during a performance. 20 Jennifer Williams Brown, “On the Road with the ‘Suitcase Aria’: The Transmission of Borrowed Arias in Late Seventeenth-Century Italian Opera Revivals,” Journal of Musicological Research 15, No. 1 (1995): 3. 21 Ibid. 22 Ibid. 23 Burkholder, Grout, and Palisca, A History of Western Music, 497. 24 Robert Toft, Bel canto: A Performer’s Guide (Oxford: Oxford University Press, 2013), 6.

beautiful melodic line and a certain dramatic tension. They gradually fused these skills, using the

full range of the voice to dramatic effect. At that time, Italy still dominated the opera stage. Not

only did Italy have a leading position in opera, but Italian-style bel canto was regarded as the singing method required of almost all vocalists. Rossini, Donizetti, and Bellini, who led this trend, were regarded as the three greatest operas composers in Italy, and a number of Donizetti’s operas were premiered at the Opéra in Paris.

Bel canto and opera went hand in glove in the nineteenth century. Not only was there enormous development in singing skills, but the relationship among characters, vocal ranges, and tone became closer. Bel canto also indirectly affected the development of vocal music in Europe,

America, and elsewhere. To this day, vocal works still use bel canto as the touchstone, taking this concept as the standard and ideal goal to pursue.

The popularity and development of this florid and complex vocal style in the nineteenth

century increased the possibilities of dramatic expression for the principal characters. As we

have mentioned, because of her legendary status as a rare female monarch in history and her

dramatic and influential life, Queen Elizabeth I became a popular subject in nineteenth-century

European culture. Composers could use the story of her life of power, complexity, and intrigue

as an ideal complement to their florid, extroverted vocal style.

The castrato was the origin of the coloratura soprano. Castrati had the qualities of a

female voice, but at the same time had the male vital capacity which could sing not only with

delicacy and elegance, but also amazing high notes. In the nineteenth century, the castrato

gradually withdrew from the stage. This type of singing was replaced by a coloratura soprano

with a similar vocal quality. The coloratura soprano became the mainstream at the time.

Composers such as Rossini and Donizetti tailored their opera characters for these well-known

singers. For the above context, the role of Queen Elisabeth I was often sung by a coloratura

soprano in the operas of the nineteenth century, leading to the saying “The Queen sings

coloratura.”25

2.3 Literature

At the beginning of the nineteenth century, a new trend or style appeared in European art, including music and theater. This was so-called “Romanticism” or the “Romantic Literary

Trend.” Romanticism formed after the French bourgeois revolution and during Napoléon's dictatorship. Romantic literature and art reflected the thoughts and feelings of the European bourgeoisie and petty-bourgeois intellectuals and their attitudes towards social life. Romantic literature is not only a question of creative method and style of work, but also a complex world and view of art. Romanticism could be said to be the result of the natural and emotional development in the eighteenth century that rejected uniformity, rationalism, and materialism.26

At the turn of the eighteenth to nineteenth century, the tastes of British readers of

literature changed, laying the foundation for the counterfactual historical novel, such as the

books by Jane Porter and Sir Walter Scott.27 If the contents of the traditional historical novel of

the early nineteenth century in Britain were meant to help readers gain a better understanding of

historical events, the introduction of the counterfactual (events that had no basis in historical

documents) in historical novels challenged these same readers’ understanding of history.28

25 Winfried Jung and Bodo Plachta, “The Queen Sings Coloratura: Elizabeth I and Bel Canto Opera,” in Christa Jansohn, ed., Queen Elizabeth I: Past and Present (Münster: Lit, 2004), 195–209. 26 Robert Tombs and Isabelle Tombs, That Sweet Enemy: The French and the British from the Sun King to the Present (New York: Knopf, 2007), 318. 27 Ibid., 6. 28 Ibid., 8.

The turmoil of society in the nineteenth century had an indirect impact on the

development of opera. Although playwrights at this time were not openly using the Napoleonic

war as a theme, during the Napoleonic era opera librettos used the plot to preach and praise the

idea of superior forces of virtue which would eventually win through courage.29 During the decades of the Post-Napoleonic period, many operas employed plots based on historical subjects that represented neither the recent past nor classical myth and antiquity, but rather a more colorful, imaginative creation of medieval chivalry and Renaissance heroism.30

In these contexts, writers in the nineteenth century had a strong interest in historical stories. As Dean mentions, “one of the colorful by-products of the Romantic movement was the sudden popularity of the British Isles as a locale for opera, and of English or Scottish history as a foundation—however remote—for the details of the plot.”31 One of the reasons for this was the

popularity of Sir Walter Scott’s novels.32 Scott (1771-1832) was a Scottish historical novelist and

poet. His works play an important role in both the English language and Scottish literature. Quite

a few nineteenth-century operas were inspired by Scott’s works, especially The Bride of

Lammermoor, which served as the source for Donizetti’s Lucia di Lammermoor, Alberto

Mazzucato’s La fidanzata di Lammermoor, Georges Bizet’s La jolie fille de Perth, and Rossini’s

La donna del lago.

A controversial woman in history, Queen Elizabeth I certainly provided wonderful subject matter. However, although she has always conveyed the image of a powerful monarch,

29 Snowman, Gilded Stage, 98. 30 Ibid., 103. 31 Dean, Essays on Opera, 182 32 Ibid.

the firm and eternal power behind Britain, her popular evaluation in the nineteenth century was relatively negative.

Many historians believe that because of the economic prosperity and the relative reduction of many religious and political struggles in this era, known as the “Golden Age,” it was

possible to develop the Renaissance and eventually Romantic ideas. For example, William

Shakespeare (1564-1616), one of the greatest writers of all time, produced classic works that

interested later generations. This may be why many modern designers, even of theatrical

costumes (such as Game of Thrones), like to use Elizabethan costume elements for design

inspiration. However, this style of pomp was exactly the opposite of the meek and plain styles of

the nineteenth century. Elizabeth’s lavish attire made her considered vain in the nineteenth

century. Therefore, she was often portrayed as a garish monstrosity with a heavily made-up pale

complexion, and a wrinkled and haggard face.33 Besides the commissioned portraits, Elizabeth

was commonly represented as a weak and elderly woman.34

Elizabeth was often described as a monarch with a notorious temper and she received

ruthless evaluation by future generations, especially with regard to her handling of those she

considered traitors and enemies. It was for this reason that the plight of Mary, Queen of Scots

might have been considered more suitable as a subject. Mary was seen as a young woman

trapped in a web of conspiracy and intrigue, and Elizabeth as a spider waiting to hunt.

In addition, Elizabeth, as the Virgin Queen, could have been considered a heroine of a

medieval romance, but not in the nineteenth century. By then, a virgin in literature was usually in

some difficulties, social or financial, in order to gain the sympathies of readers. Yet, this was not

33 Grace Chen, “Monstrous Femininities: Elizabethan Influence on Nineteenth-Century Literature” (diss., University of Arizona, 2019), 10; Cuddy, “Counterfactual History Novel,” 4. 34 Chen, “Monstrous Femininities,” 10.

the case with Elizabeth. She was a figure of strength, authority, and power, lacking the qualities related to virginity at that later time.35 People therefore thought that her virginity might have been sterility or a choice, not fact. Hence references to her as unmarried rather than a real virgin.

35 Ibid., 13.

12 CHAPTER 3

INTERPRETATION OF THE MUSICAL STYLE PORTRAYING QUEEN ELIZABETH I

3.1 Italian Opera

3.1.1 Gioachino Rossini (1792-1868) “Quant’é grato all’alma mia” from Elisabetta, regina d’Inghilterra (1815)

3.1.1.1 Historical Background

Rossini’s first opera, La cambiale di matrimonio, was written in 1810. Although it was performed in a small opera house, it was well received, making him noticed among opera connoisseurs. Then his first opera seria, Tancredi, created an international reputation for him.

Elisabetta, regina d’Inghilterra (Elizabeth, Queen of England) was the first opera Rossini

wrote for the Teatro Reale di San Carlo in Naples,36 and premiered on 4 October 1815 with the

soprano Isabella Angela Colbran (1785-1845) as Elizabeth. Rossini was the house composer at

San Carlo from 1815 and wrote ten operas before he left in 1822, including La gazzetta, Otello,

ossia il Moro di Venezia (1816), Armida (1817), Mosè in Egitto, Ricciardo e Zoraide (1818),

Ermione, Bianca e Falliero, Eduardo e Cristina, La donna del lago (1819), Maometto II (1820),

and Zelmira (1822). Elisabetta, regina d’Inghilterra is a dramma per musica37 in two acts, to a libretto by Giovanni Schmidt (1775-1839), an Italian librettist who was the official poet at San

Carlo. Schmidt had written libretti for more than forty operas, including four for Rossini that are considered his best works.

The role of Elizabeth was written especially for Colbran, a Spanish opera singer known as a dramatic coloratura soprano, or a mezzo-soprano with high extension. After she started

36 Teatro Reale di San Carlo, or simplythe Teatro di San Carlo, is an opera house in Naples. It is the oldest surviving venue for opera (1737), still an active and important theater in Europe today. 37 Dramma per musica is based on a text especially written for music composition.

working at San Carlo, she became the mistress of the theater director Domenico Barbaia.38 He

made her the prima donna of the theater, singing the leading roles in a number of operas. Besides

Elisabetta, regina d’Inghilterra, she had sung leading roles in five other operas by Rossini.

Working in such close cooperation, they gradually developed feelings for each other. So, when

Rossini’s seven-year contract with San Carlo expired in 1822, he and Colbran left Naples

together for Bologna, where they were married.

3.1.1.2 Scene and Translation

“Quant’é grato all’alma mia” is Elizabeth’s entrance aria in Act 1, which take place in the

throne room of Whitehall Palace in London. The Earl of Leicester, Queen’s favorite nobleman,

has returned from winning the war with Scotland. Elizabeth enters the room and gives him great

welcome and praise. Rossini re-used some of the music from this opera in his later operas, such

as the overture and aria in Le Barbier de Séville (1816) and some motives in Semiramide (1823).

Table 3.1: “Quant’é grato all’alma mia” Lyrics Original Translation Elizabeth Quant’é grato all’alma mia How grateful to my soul, il comun dolce contento the common sweet happiness Giunse a fine il bel momento At the end came the beautiful moment che c’invita a respirar that invites us to breathe (live) Choir Dopo tante rie vicende After so many averted events Royal lady, with peace in your breast you return Real donna, a pace in seno tu ritorni a respirar to rest Elizabeth Questo cor ben lo comprende This heart understands very well, palpitante dal diletto throbbing from delight Rivedró quell caro oggetto I will see that dear crown

38 Domenico Barbaia (also spelled Domenico Barbaja, 1777–1841), the well-known Italian opera manager at San Carlo.

Original Translation che d’amor mi fa brillar that will make me shine in love

3.1.1.3 Musical Analysis

At the beginning of this aria, Rossini writes an F-major chord with fermata that creates a grand and solemn atmosphere for the appearance of Queen Elizabeth, followed by an introduction (mm. 1-13) with full orchestra that prolongs the chord for the entire song. This section previews a pleasant and light musical color for the entire work.

Starting from m. 14, in the first singing section, the piano starts using root-position chords as the main accompaniment mode. In mm. 14-31, although the vocal part of this section is not a typical recitative, the chord accompaniment mode of the orchestra allows the singer freedom to play with the time (see Ex. 3.1).

Example 3.1: “Quant’é grato all’alma mia,” mm. 15-20

In the vocal line, although there are obvious phrases, the end of each phrase does not land on the root of chord but the third or fifth, until the last phrase of the whole section, which makes

the phrase connection and modulation (mm. 23-31, F-C) smoother and more unified (see Ex.

3.2).

Example 3.2: “Quant’é grato all’alma mia,” mm. 15-26

In this aria, Rossini uses non-chord tones to enhance the effect of specific words, such as

“fine” (end) and “bel” (beautiful) in m. 23, but hardly puts a non-chord tone on the strong beat

(see Ex. 3.3).

Example 3.3: “Quant’é grato all’alma mia,” mm. 21-23

As already mentioned, Rossini used the material and melody of this aria in later works. In this section, there is a rhythmic motive similar to one found in Semiramide’s aria in the opera

Semiramide (see Ex. 4 and 5).

Example 3.4: “Quant’é grato all’alma mia,” mm. 19 and 21

Example 3.5: Semiramide, “Bel raggio lusinghier,” m. 6

Measures 32-57 make up a chorus section that tends to be cut in performance and will not be discussed in this analysis. The next entrance starts in m. 58. In this section, the accompaniment mode had been slightly changed, and a texture with a more supporting and

tempo-stabilizing role for the vocal line is created through repeated chords (see Ex. 3.6).

Example 3.6: “Quant’é grato all’alma mia,” mm. 61-63

Besides the rhythmic motive that he used in his later works, Rossini used the same melody in the aria “Una voce poco fa” from Il barbiere di Siviglia a year later in 1816 (see Ex.

3.7 and 3.8).

Example 3.7: “Una voce poco fa,” mm. 55-63

Example 3.8: “Quant’é grato all’alma mia,” mm. 61-69

Measure 67 is the first time Rossini sets a non-chord tone on the strong beat, which makes the word “palpitante” (palpitating) emphasized naturally. He also uses a leap of an octave to emphasize the word “mi” (me) (see Ex. 3.9). In mm. 69-81, Rossini strengthens the tonal effect by sustained bass notes of F and C, which help the embellished vocal line be more stable.

In order to achieve such an effect, he changed the first-inversion chords to second and third inversion (see Ex. 3.10 and 3.11).

Example 3.9: “Quant’é grato all’alma mia,” mm. 64-72

Example 3.10: “Quant’é grato all’alma mia,” mm. 67-75

Example 3.11: “Quant’é grato all’alma mia,” mm. 76-81

The Rossini crescendo is a well-known technique that the composer employs a great deal in his works, repeating a phrase two to three times, louder each time, often at a higher pitch, to build up the excitement, typically at the end of the aria.39 Rossini uses this technique in mm. 89-

101 to enter the next section, which is the same as mm. 73-89 but usually sung with the singer’s

own choice of embellishment (see Ex. 3.12 and 3.13). After the singer sings the embellished

repeated section, Rossini uses the Rossini crescendo repeatedly in the last section. (see Ex. 3.14

and 3.15.)

39 Burkholder, Grout, and Palisca, History of Western Music, 666.

Example 3.12: “Quant’é grato all’alma mia,” mm. 88-95

Example 3.13: “Quant’é grato all’alma mia,” mm. 96-99

Example 3.14: “Quant’é grato all’alma mia,” mm. 130-32

Example 3.15: “Quant’é grato all’alma mia,” mm. 117-18

3.1.1.4 Conclusions

• Timbre : This aria was written for Isabella Colbran to sing when she was 30 years old, close to the age of the 25-year-old queen. The aria is graceful and buoyant in style, and the vocal line demands much flexibility from the singer. It is generally considered to be suitable for a young soprano. While there are many embellishments, they are not excessive, and the aria is also appropriate for non-coloratura sopranos.

• Range: The range of this aria is b-b2, the tessitura of most sopranos. Even if the big leaps are used for special effects, they are not overdone.

• Texture: The texture of this aria is relatively light, except for the prelude, interlude, and choir parts. There is almost no rhythmic and melodic doubling between the orchestra and the vocal line. The only texture that starts to be thicker is the last paragraph, which has solo, choir, and the orchestra at the same time, and the repetition of the Rossini crescendo makes the texture much thicker than in the previous sections.

• Dynamics: Besides the Rossini crescendo, this aria has a terraced dynamics style, with a great deal of p-sf, etc.

• Harmony: The harmonic function of this aria mainly supports the singing, generally through block chords throughout. The tonality of this aria is very stable, any modulation is short and fast, and the I and V chords of F major are found throughout. There are no tonal transitions between paragraphs. Rossini changed colors by vocal line and accompaniment patterns. Rossini put almost all the non-chord tones in this aria on the weak beat—on the strong beat only for special effects. The overall harmonic effect is stable and clear. It also echoes the stable life of the younger and delightful queen around 25-year-old.

• Rhythm: This aria is full of rhythmic changes, especially in the second section of the

vocal line (starting from m. 62) which has many instances of the two-against-three rhythmic pattern. The singer must have a stable tempo when singing, and fully distinguish the differences in rhythm, so that it is clear whether the music is in duple or triple rhythm; that can also make the diction more accurate.

• Growth: The peak of this aria is located at the end. Some climaxes in the middle of the piece overlap, but they are short and fast, until the last page, which is taken by the Rossini crescendo to the highest point of the aria.

Rossini’s setting of the queen’s first aria makes the turning of the mood in the following acts more intense. It also shows that a monarch born as a woman must let go of all her longing for love and cover her heart.

3.1.2 Gaetano Donizetti (1797-1848) “Si, vuol di Francia il rege… Ah, quando all’ara scorgemi… Ah! Dal Ciel discenda un raggio” from Maria Stuarda (1835)

3.1.2.1 Historical Background

In the years after the end of the Napoleonic Wars, Italy began to build a large number of new opera houses and renovate old opera ones. The governments of all regions actively followed the style of the nobles in the past and regarded the opera house as a city’s proud property.40

However, opera became a channel for criticizing politics and society at that time, making it constantly watched by the censorship system of the government, the targets of which included

Donizetti.

Maria Stuarda is a three-act opera seria premiered on 30 December 1835 at La Scala in

40 Snowman, Gilded Stage, 107.

Milan.41 The premiere of this opera, which had been planned to take place in Naples, was also

affected by the censors at the time42. Before composing Maria Stuarda, Donizetti was working in

lots of places, including Milan, Naples, and Rome. Therefore, when he returned to Naples after being absent for over a year, he was unaware of the increasing conservative stance of the

censors.43 He was too confident in his success in France, which made him believe that this work

could be brought before the public in this new style. However, this was not the case. His work was strictly examined, he was forced to make a lot of modifications, and nevertheless the work was eventually banned in Naples. After several twists and turns, this opera finally appeared in

Milan in 1835.

Maria Stuarda is one of Donizetti’s four operas featuring Queen Elizabeth I. His librettist for the opera was Giuseppe Bardari (1817-1861),44 who based the libretto on Friedrich Schiller’s

play Maria Stuart (1800), which had been translated into Italian by Andrea Maffei (1798-

1885).45 In fact, Bardari was not the first choice for Donizetti, who had hoped that the librettist of

Anna Bolena, Felice Romani (1788-1865),46 would work for him, but Romani ignored his

invitation because he was keen to stop writing for the theater.47 Mary Stuart (1542-1587)48 was a

41 La Scala, official name Teatro alla Scala, 42 William Ashbrook, Donizetti and his Operas, Cambridge: Cambridge University Press, 1982, 358. 43 Ibid. 44 Giuseppe Bardari (1817–1861) was an Italian laywer and writer. He is known today for being the librettist for Donizetti’s opera Maria Stuarda, but also played a prominent role in the judiciary of Naples in the years leading up to the unification of Italy. 45 Andrea Maffei (1798–1885) was an Italian poet, translator, and librettist whose translations included works by Thomas Moore, Byron, Goethe, and Schiller. 46 Felice Romani (1788–1865), an Italian poet and scholar of literature and mythology, is considered one of the finest opera librettists, along with Pietro Metastasio and Arrigo Boito. 47 Charles Osborne, The Bel canto Operas of Rossini, Donizetti, and Bellini (Portland, OR: Amadeus Press, 1994), 229–34. 48 Mary Stuart (1542–1587), also known as Mary Queen of Scots, the only surviving legitimate child of King James V of Scotland, once claimed that the throne of Elizabeth should belong to her and was considered the legitimate heir

popular subject in theater in the beginning of seventeenth century. Friedrich Schiller (1759-

1805),49 known for his tragedies, increased her fame through his play, brought it from the theatre

to the novel, and then to the opera.50

However, the premiere of this opera was considered a failure, and Donizetti described the

evening as “painful, from start to finish” in a letter to his friend,51 because of the indisposition of

both lead role singers, Maria Malibran (1808-1836)52 and Giacinta Toso (1807-1889).53

Afterwards, the opera was still performed, but it was not until the twentieth century that it gained

regular attention and become one of Donizetti’s most frequently performed operas.

3.1.2.2 Scene and Translation

“Si, vuol di Francia il rege… Ah, quando all’ara scorgemi… Ah! Dal Ciel discenda un

raggio” is Elizabeth’s entrance aria in Act 1, scene 2, and also the first solo singing after the

overture and the opening chorus. This scene takes place in Elizabeth’s court at Westminster.

While Elizabeth enters, the Lords and Ladies express their joy after a tournament to honor the

French ambassador, who has brought a marriage proposal to Queen Elizabeth from France. She hesitates whether to accept this proposal, which could help them create an alliance with France, and is concerned about the threat posed to her by her cousin Mary Stuart.

of England by many English Catholics. 49 Johann Christoph Friedrich von Schiller was a German poet, philosopher, physician, historian, and playwright. His work had been set into music by several great composers, including Schubert, Rossini, Donizetti, and Verdi. 50 Gaetano Donizetti and Riccardo Allorto, Regine e rivali della corte d’Inghilterra: Arie e duetti per soprano e mezzosoprano = Queens and Rivals at the Tudor Court: Solos and Duets for Soprano and Mezzo-soprano (Milan: Ricordi, 1999), 44. 51 Ashbrook, Donizetti and his Operas, 19. 52 Maria Felicia Malibran (1808–1836), a Spanish singer, was one of the best-known opera singers of the nineteenth century. 53 Giacinta Toso (also known as Toso Puzzi or Puzzi Toso, Maman Puzzi, 1807–1889), was an Italian operatic singer who had a great career in England in the early nineteenth century but was forced to retire from the stage from ill health.

Table 3.2: “Si, vuol di Francia il rege… Ah, quando all’ara scorgemi…Ah! Dal Ciel discenda un raggio” Lyrics Original Translation Sì, vuol di Francia il rege Yes, the King of France wants col mio cor l’anglo trono. the English throne along with my heart. Dubbiosa ancor io sono I am still doubtful d’accoglier l’alto invito About accepting the noble invitation. Ma, se il bene dei fidi miei britanni But, if the good of my loyal Britons Fa che d’Imene all’ara io m’incammini Requires me to proceed to Hymen’s altar Reggerà questa destra This right hand will guide Della francia e dell’Anglia ambo i destini The destinies of both France and England.

Ah quando all’ara scorgemi Ah, when a chaste love ordained Un casto amor del Cielo By heaven sees me at the altar; Quando m’invita a prendere When it invites me to take D’Imene il roseo velo, Hymen’s roseate veil, Un altro core involami la cara libertà! Another heart steals my dear freedom! E mentre vedo sorgere fra noi fatal barriera, and as I see a fatal barrier rising between us, Ad altro amor sorridere quest’anima non sa… My soul cannot smile on another love.

Ah! Dal Ciel discenda un raggio Ah! May a ray descend from Che rischiari il mio intelletto: Heaven to clear my mind: Forse allora in questo petto Perhaps clemency will then la clemenza parlerà speak in my breast Ma se l’empia m’ha rapita But if the wicked woman has stolen Ogni speme al cor gradita Every hope dear to my heart, Giorno atroce di vendetta A terrible day of vengeance Tardo a sorger non sarà. Will not be long in coming.

3.1.2.3 Musical Analysis

The queen enters supported by a firm and stable Eb-major chord. She starts with “Si”

(Yes) and ends against the discussion and noise of the people, a grand and positive confirmation of the proposal brought by the French ambassador. In m. 11, the piano part shows the first sign of deviating from the original tone, and also shows the queen’s inner hesitation with the word

“ma” (but). In the following sentence, Donizetti does not clearly indicate a new key, but rather

continues to modulate in the vocal line with the note A, the fifth of the D-major chord (V/V of the new key, G major, of the cavatina). See Ex. 3.16, mm. 9-21.

Example 3.16: “Si, vuol di Francia il rege… Ah, quando all’ara scorgemi…Ah! Dal Ciel discenda un raggio,” mm. 9-21

a. First sign of moving away from Eb major.

b. Bb and G# show the direction to A.

c. Sign: Vocal line to A and piano part plays an A-major broken chord.

d. F# and D, the third and fifth of the V7 of D major chord.

e. Shortly afterwards lands on D major; the key then starts to deviate again.

f. C# gives a sign of moving to D.

g. G-C# (augmented fourth/diminished fifth), the third and fifth of V7 of D, is another sign. Then finally lands on D major, V of the new key, G.

The cavatina starts at m. 22. In mm. 25-37, the piano continues to a clear and stable D- major chord, but the vocal line keeps going to the non-chord tone Eb. The Italian sixth has the harmonic function as the color changes, as reflected exactly by the word “roseo” (rose-colored)

(see Ex. 3.17).

Example 3.17: “Si, vuol di Francia il rege… Ah, quando all’ara scorgemi…Ah! Dal Ciel discenda un raggio,” mm. 25-35

In the following section, Donizetti uses changing accompaniment patterns to express emotional turning points. The constantly appearing D# and fast repeated chords make the

atmosphere become more tense; an Italian sixth chord creates an instability that makes listeners feel as if they have been left dangling (see Ex. 3.18).

Example 3.18:“Si, vuol di Francia il rege… Ah, quando all’ara scorgemi…Ah! Dal Ciel discenda un raggio,” mm. 36-42

Compared with the cavatina, the overall tonal feeling in the cabaletta is more stable, until

m. 30 (V/V of G Major), which gives a feeling of anticipation, then immediately becomes

unstable (see Ex. 3.19).

Example 3.19: “Si, vuol di Francia il rege… Ah, quando all’ara scorgemi…Ah! Dal Ciel discenda un raggio,” mm. 27-35

3.1.2.4 Conclusions

• Timbre: Compared with Rossini’s aria, this piece has a more stable and solid feeling.

The tonal changes and expansions in the melody appear more restrained and calm, as befits a more mature soprano singer. The range of this aria is d1- a2, not a challenge range to sing.

However, there are many phrases throughout that start with the lowest pitch, d1, and leaps add

difficulty to the aria. Most of the chords appear in first and second inversion, and there is a lot of

melodic doubling, making the texture relatively heavy. This creative technique makes the

harmonization seem less solid, echoing the queen’s inner struggle.

• Dynamics: The dynamic changes of this piece are terraced, but smoother than in

Rossini’s aria. Besides the p and f, unlike Rossini who used patterns to increase the dynamics,

Donizetti mostly used dynamic symbols at the beginning of the phrase to imply changes in it. In addition, occasional cresc. marks are found in the score.

• Harmony: The harmonic function of this aria can be mainly classified as support of the singing, mostly through block chords and broken chords throughout. The tonality of this aria is less stable than Rossini’s aria, and the modulation is longer and slower. Although there are few changes of tonality, the use of augmented sixth chords and secondary dominant chords reduces the stability of the tonality. This aria not only has a large number of non-chord tones, but most of them are placed on the strong beat in the vocal line which makes the music sounds heavier and darker compared to Rossini’s aria.

• Rhythm: Compared with the changes in harmony and melody, the changes in rhythm are relatively few, highlighting the richness of the melody lines.

• Growth: The phrases of this aria are longer, making the ups and downs of the music gentler and smoother. The highest note of the aria shows up at the end, highlighting the emotions of the last paragraph.

Donizetti’s portrayal of Queen Elizabeth I is completely different from Rossini’s. The character Donizetti created is older and mature, and it is no longer love that troubles her, but the national interest. The color and harmony highlight the Queen’s inner struggle and emotional turning point. On the whole, the aria is closer to the general recognition of the role of a queen, stable and dignified.

3.2 French Opera: Ambroise Thomas (1811-1896) “Malgré l'eclat qui m'environne” from Le songe d'une nuit d'été (1850)

3.2.1 Historical Background

Le songe d’une nuit d’été is an opéra-comique. Although it was adapted from

Shakespeare’s play A Midsummer Night’s Dream, its content is completely subverted, the main

characters being Falstaff, Elizabeth I, and Shakespeare. Thomas integrates different

contemporary opera styles in his works and displays increasingly advanced orchestral

techniques.

Although he did not write his most famous opera Hamlet until 1868,54 Thomas had already shown his love of Shakespeare in Le songe d’une nuit d’été. The influence of English literature in France could already been seen in the eighteenth century, when nearly three-quarters of French books were translated from English. Britain was regarded not only as a source of

scientific, philosophical, and political novelty, but also as a new way of feeling that included

nature, morals, and melancholy.55

The opera was premiered at the second Salle Favart56 in Paris on 20 April 1850. The role

of Queen Elizabeth was composed for Delphine Ugalde (1829-1910), a French soprano singer

and composer, who was too sick to sing at the premiere.57 The role was then performed by the

soprano Sophie Grimm (1824-1879), who won first prize for opéra comique in 1846 when she

studied at the Paris Conservatory. Although this opera has many questionable points in the plot,

54 Hamlet (1868) is a five-act French grand opera by Ambroise Thomas. The libretto is by Michel Marré (1821– 1872) and Jules Barbier (1825–1901) based on the play Hamlet, a tragedy written between 1599 and 1601 by William Shakespeare (1564–1616). 55 Tombs, That Sweet Enemy, 115–21. 56 The Salle Favart (also known as the Théâtre de l’Opéra-Comique) is an opera house in Paris built from between 1893 and 1898. 57 Robert Ignatius Letellier, Opéra-Comique: A Sourcebook (Newcastle upon Tyne: Cambridge Scholars, 2010), 681.

that did not affect its popularity at that time, when it was being performed all over the world.

3.2.2 Scene and Translation

In the first two scenes, the queen and her maid meet the depressed Shakespeare in a

tavern. Although the queen tries to encourage him, it proves useless, and he mocks her for her preaching. In order to arouse his interest and confidence in writing, the queen makes her maid dress like a muse and blames Shakespeare for giving up. However, all this is seen and misunderstood by her admirers.

This aria comes at the beginning of the third act. The queen reveals her identity as a last resort and asks everyone to forget what happened that night and not disclose it to the public.

Table 3.3: “Malgré l’eclat qui m’environne” Original Translation Malgré l’éclat qui m’environne, Despite the radiance that surrounds me Que de tristes jours, que d’ennuis! What sad days, what trouble! Au front qui porte la couronne On the forehead that wears the crown Viennent s’attacher les soucis. The worries come to attach themselves.

Amour, douce ivresse, Love, sweet intoxication Qui donnez le bonheur, Which gives happiness, Elans de tendresse, Upsurge of tenderness Ah! Fuyez, hélas! Fuyez de mon coeur! Ah! Flee, alas! Flee from my heart!

Mais s’il faut, pauvre reine But if necessary, poor queen, Resister aujourd’hui Resist today Au penchant qui m’entraine…. Addiction that drives me…. Veillons toujours sur lui! Always watch over him! Ah, toujours! Ah, always!

Mon Dieu, laisse a mon âme My God, leave to my soul Sa douce et pure flame… Its sweet and pure flame… Du haut de ma grandeur, From the top of my greatness, Veillons sur son bonheur! Watch over his happiness! Venez, rêves de gloire, Come, dreams of glory,

Original Translation Pour moi, pour mon coeur For me, for my heart Honneur et splendeur Honor and splender Que mon nom brilliant, mon règne éclatant That my brilliant name, my bright reign Revivent dans l’histoire! Come alive in history!

3.2.3 Musical Analysis

The piece starts with gorgeous Bb-major chords, then begins to modulate in a more complicated way after the vocal line begins, from IV of Bb (= VI/gm) to V/ii-ii-I64-V7-i. (See

Ex. 3.20.)

Example 3.20: “Malgré l’eclat qui m’environne,” mm. 14-20

Thomas also uses many augmented and diminished chords to modify the direction of the melody and emphasize the words (see Ex. 3.21 and 3.22).

Example 3.21: “Malgré l’eclat qui m’environne,” m. 28, half-diminished seventh chords

Example 3.22: “Malgré l’eclat qui m’environne,” m. 60, French augmented sixth chord

Right after the French augmented sixth chord, Thomas uses a pedal tone G for six measures, making the harmony more stable, providing an easy harmonic base for the singer as she navigates the challenging fioratura (see Ex. 3.23). Thomas sets non-chord tones on strong beat a lot. Some of them are on the last syllable of the phrase, weakening the syllable. However, he also sets non-chord tones on strong beats in order to emphasize the word (see Ex. 3.24).

In addition, he uses continuous inverted chords, so that the lowest note is not the root note. Even if the vocal line continues to revolve around the root, there is no way to achieve a

stable harmony, but this method also indirectly provides a good French flow of the text for singers (see Ex. 3.25).

Example 3.23: “Malgré l’eclat qui m’environne,” mm. 61-67

Example 3.24: “Malgré l’eclat qui m’environne,” mm. 72-78

Example 3.25: “Malgré l’eclat qui m’environne,” mm. 92-101

3.2.4 Conclusions

• Sound: This aria is typical for a coloratura soprano. It has a wide range, b-flat-d-flat

3, and there are a lot of phrases that start with high notes such as b2 and c3. As for texture,

although the left hand of the piano is still playing chords, the use of a large number of semitones

in the treble part and the augmented and diminished chords make the texture of the aria feel

denser.

• Dynamics: The dynamic changes of this aria are more graduated than in the other two

arias, even though there are still some terraced dynamics.

• Harmony: The harmonic function of this aria can be mainly classified into creating

color. The tonality is less stable, and the chords are more varied, than in Italian opera.

• Rhythm: This aria is full of rhythmic changes, with no fixed pattern. It is a typical

French aria, in which the flow of the language is the main appeal.

• Growth: Because of the characteristics of French, the tunes are more fluid, and the sections are not as clear as the Italian arias, making the overall sense of growth smoother and stronger.

Thomas’s portrayal of Queen Elizabeth I seems soft and free compared with the previous two arias, less heavy and rigorous. The changing unstable harmony makes the music roll forward. The vastly modified storyline from Shakespeare’s play allows the composer t more space to play, less limited to specific characters, time and space. It also allows Thomas to have a broader diverse presentation of Queen Elizabeth I.

42 CHAPTER 4

CONCLUSIONS

The legendary story of Queen Elizabeth I in England is constantly being retrieved by

artists in various fields as a subject for creation. In the process of searching for information, the author found that the queen’s conflict-filled history is uniquely fascinating, so it is no wonder

that many creators take it as a source.

The three works of the nineteenth century discussed in this dissertation have different

styles and interpretations of Queen Elizabeth. The different styles of the music also make the

expectation of the vocal style different. The author chose three composers—Rossini, Donizetti,

and Thomas—as the research theme because they are important representatives of the Romantic

period. Their works are based on the story of Elizabeth, but expressed differently in sound,

harmony, rhythm, structure, and lyrics. Examining the three arias reveals some of the methods

the composers developed to give their arias dramatic strength.

Elizabeth is a character with a specific image in history today. In the nineteenth century, however, when individualism and inner expression were the main pursuits, her character was perceived in a different light. Changes in the political and social background indirectly influenced literary choices, composers’ interpretations, and vocal style in these works. The choice of musical style, mode of accompaniment, and even changes of rhythm all affect the interpretation and singing of Elizabeth I.

Through musical analysis, we can come to understand the meaning of the composers’ musical settings. It is hoped that this paper will serve as a starting point for operas about Queen

Elizabeth I, making more singers interested in these works and inspiring further research.

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Scores

Donizetti, Gaetano, and Riccardo Allorto. Regine e rivali della corte d'Inghilterra: arie e duetti per soprano e mezzosoprano = Queens and Rivals at the Tudor Court: Solos and Duets for Soprano and Mezzo-soprano. Milan: Ricordi, 1999.

Rossini, Gioachino. Partition de L’Elisabeth, Reine d’Angleterre / Musique de Rossini. HathiTrust. Accessed November 14, 2019. https://hdl.handle.net/2027/wau.39352026179135.

Thomas, Ambrose. Le Songe d’une nuit d’été. Opéra-comique en trois actes. Poème de M. M. Rosier et De Leuven [Pseud.] Musique de Ambroise Thomas. Accompagnement de Piano…. HathiTrust. Accessed November 14, 2019. https://hdl.handle.net/2027/nc01.ark:/13960/t6058fh9n.