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3. Monody and Opera
Monody & Opera Florence Grand Duchy of Florence Italian Peninsula Monody & Opera FLORENCE Monody & Opera The CAMERATA Monody & Opera The CAMERATA Giovanni de’ BARDI, patron Jacopo CORSI, patron Girolamo MEI, historian Vincenzo GALILEI, musician Monody & Opera Polyphony = “Many Voices” Monody = “One Voice” Monody & Opera Reaction Against the Madrigal… The Madrigal The most important secular genre of the sixteenth century The Madrigal Composers enriched the meaning and impact of the text through musical setting. The genre became an experimental vehicle for dramatic characterization, inspiring new compositional devices. The Madrigal First Practice “Music is the mistress of the Text” Second Practice “The Text is the mistress of the Music” The Madrigal Claudio Monteverdi Cruda Amarilli (pub. 1605) The Madrigal The Madrigal Artusi / Monteverdi Controversy Giovanni Maria Artusi L’Artusi (pub. 1600) Monody & Opera The CAMERATA Musicians Jacopo PERI Giulio CACCINI Emilio de’ CAVALIERI Monody & Opera Speech song of Greek and Roman Theatrical Tragedies & Epic “GREEKS and ROMANS” Monody & Opera “[The Camerata] having repeatedly discoursed on the manner in which the ancients used to represent their tragedies, and whether they employed song, and of what kind, Signor Rinuccini took to writing the play Dafne, and Signor Corsi composed some airs to parts of it… and shared his thoughts with Signor Peri. The latter, having listened to their purpose and approving of the airs already composed, took to composing the rest… “The pleasure and amazement produced -
Orfeo Euridice
ORFEO EURIDICE NOVEMBER 14,17,20,22(M), 2OO9 Opera Guide - 1 - TABLE OF CONTENTS What to Expect at the Opera ..............................................................................................................3 Cast of Characters / Synopsis ..............................................................................................................4 Meet the Composer .............................................................................................................................6 Gluck’s Opera Reform ..........................................................................................................................7 Meet the Conductor .............................................................................................................................9 Meet the Director .................................................................................................................................9 Meet the Cast .......................................................................................................................................10 The Myth of Orpheus and Eurydice ....................................................................................................12 OPERA: Then and Now ........................................................................................................................13 Operatic Voices .....................................................................................................................................17 Suggested Classroom Activities -
Chapter 7: Humanism and the Emergence of Opera in Italy: 1590–1640
Chapter 7: Humanism and the Emergence of Opera in Italy: 1590–1640 I. Introduction A. Groups of humanists flourished in Italy during the Baroque period. 1. New ideas included stile rappresentativo (representational style), monody, and recitative. 2. Early plays featuring music in this new manner included intermedia (singular: intermedio). Musical plays called favola in musica (fable in music) are now considered the first operas. B. An important figure was Claudio Monteverdi, who explored the seconda pratica (second practice), claiming, “the words are the master of the music.” II. The Baroque era A. The word Baroque is used to cover music from 1600 to 1750. It was applied to music later and used to describe the music as overly decorated and ornate. 1. It could be referred to as the Italian age because most of the musical innovations during the time took place in Italy. It could be called the Galilean period, because of Galileo Galilei’s work, along with other developments in science, or the Cartesian period after Descartes. 2. Theatrical age, instrumental age, and continuo age could also apply because of developments. III. Humanism and the Greek past A. During the sixteenth century, academies formed in Italy, modeled loosely on the academies of ancient Greece. B. The most important academy was in Florence. 1. This group considered the performance of Greek drama and poetry a musical event. 2. These ideas were adopted by a group of humanists known as the Camerata. IV. Monody and the representational style A. Galilei thought that music should represent the meaning or emotion. 1. -
Orfeo Ed Euridice
CHRISTOPH WILLIBALD GLUCK orfeo ed euridice conductor Opera in three acts Mark Wigglesworth Libretto by Ranieri de’ Calzabigi production Mark Morris Sunday, October 20, 2019 set designer 3:00–4:30 PM Allen Moyer costume designer First time this season Isaac Mizrahi lighting designer James F. Ingalls choreographer Mark Morris The production of Orfeo ed Euridice was made possible by a generous gift from Mr. and Mrs. Wilmer J. Thomas, Jr. general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2019–20 SEASON The 99th Metropolitan Opera performance of CHRISTOPH WILLIBALD GLUCK’S orfeo ed euridice conductor Mark Wigglesworth in order of vocal appearance orfeo Jamie Barton amore Hera Hyesang Park* euridice Hei-Kyung Hong harpsichord Dan Saunders Orfeo ed Euridice is performed without intermission. Sunday, October 20, 2019, 3:00–4:30PM MARTY SOHL / MET OPERA A scene from Chorus Master Donald Palumbo Gluck’s Orfeo Musical Preparation John Keenan, Dan Saunders, and ed Euridice Howard Watkins* Assistant Stage Directors Gina Lapinski, Stephen Pickover, and Daniel Rigazzi Stage Band Conductor Gregory Buchalter Assistant Choreographer Sam Black Associate Costume Designer Courtney Logan Italian Coach Loretta Di Franco Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department Orfeo ed Euridice is performed in the Vienna version, 1762, edited for the Gluck Complete Works (Gluck-Gesamtausgabe) by Anna Amalie Abert and Ludwig Finscher; used by arrangement with European American Music Distributors Company, U.S. and Canadian agent for Bärenreiter-Verlag, publisher and copyright owner. -
Performeando Orfeu Negro
Performeando Orfeu Negro Leslie O’Toole The University of Arizona a película Orfeu Negro es una coproducción entre Brasil y Francia, con un direc- tor francés. Fue estrenada en 1959 con mucha aclamación crítica fuera de Brasil. Ganó una cantidad de premios, incluyendo el Palm d’Or en 1959 en Cannes, Llos premios Golden Globe y Academy Award para en 1960 Mejor Película Extranjera y el premio BAFTA en 1961. Antes del premio BAFTA fue considerada una película francesa, pero con este premio recibió la atribución de ser una coproducción. Aunque la película era muy popular en todo el mundo, los brasileños tenían algunas frustra- ciones con la imagen extranjera de Brasil que muestra. Orfeu Negro tiene un director, empresa de producción y equipo de rodaje francés, por eso los brasileños sentían que la película representaba la vida de las favelas de Rio de Janeiro en una luz demasiadamente romántica y estilizada. En 2001, Carlos Diegues produjo y dirigió una nueva versión, llamada Orfeu, que tiene lugar en las modernas favelas de Rio de Janeiro. Esta película, que muestra la banda sonora de Caetano Veloso, un famoso músico brasileño y uno de los fundadores del estilo tropicalismo, fue bien recibida por el publico brasileño pero no recibió mucha aclamación o atención fuera de Brasil. ¿Cómo podía embelesar una película como Orfeu Negro su audiencia mundial y por qué continúa de cautivar su atención? Creo que Orfeu Negro, con la metaforicalización de un mito, ha tocado tantas personas porque muestra nuestros deseos y humanidad. Propongo investigar cómo la película cumple esta visualización a través del uso de dife- rentes teóricos, filósofos y antropólogos, más predominantemente, Mikhail Bakhtin, Victor Turner y Joseph Roach. -
International Journal of Education Humanities and Social Science
International Journal of Education Humanities and Social Science ISSN: 2582-0745 Vol. 2, No. 04; 2019 EARLY MELODRAMA, EARLY TRAGICOMIC Roberto Gigliucci Sapienza University of Rome Piazzale (Square) Aldo Moro, 5, Rome 00185, Italy [email protected] ABSTRACT This essay tries to demonstrate that the tragicomic blend, typical of Baroque Melodrama, has born much earlier than what is commonly believed. Just in the Jesuitical play “Eumelio” (1606) the hellish characters are definitely comical; a year later, in the celebrated “Orfeo” by Striggio jr. and Monteverdi, we think to find droll, if not grotesque, elements. The article ends considering the opera “La morte d’Orfeo” by S. Landi (1619), particularly focusing on the character of Charon. Key Words: Tragicomic, Melodrama, Orpheus’ myth. INTRODUCTION An excellent scholar as Gloria Staffieri, in a recent historical frame of Melodrama from its birth up to Metastasio, reaffirms a widespread statement: the “invention” of tragicomic blend in the Opera is due to Rospigliosi, during the Barberini age [1], starting from 1629 (Sant’Alessio) and developing increasingly during the Thirties [2]. A quite late birth, therefore, of the tragicomic element, which is universally considered one of the most identitarian – strongly peculiar – feature of Baroque Melodrama [3]. In our short speech, we would demonstrate that this fundamental trait of Operatic mood was born at the very inception of the genre itself. Rinuccini If we skip now the case of Dafne [4] (where Rinuccini puts himself in line with the experiment of satira scenica by Giraldi Cinzio, the Egle [5], with its sad metamorphic ending), we may consider Euridice as a happy ending tragedy. -
12 Amati Camperi 20100929
Philomusica on-line 9/2 – Sezione II/371-385 Atti del VI Seminario Internazionale di Filologia Musicale. «La filologia musicale oggi: il retaggio storico e le nuove prospettive» Murder in Thrace A Shakespearean Orpheus in Seventeenth-Century Venice Alexandra Amati-Camperi University of San Francisco [email protected] § Tutti i momenti storici più significativi § Most momentous points in the history della storia dell’opera includono una of opera involve retelling the myth of versione del mito d’Orfeo, un mito Orpheus. This “superannuated” musical musicale il cui protagonista è stato l’eroe myth has been the quintessential operistico per eccellenza dalle favole della operatic hero for centuries, from the corte fiorentina alla riforma di Gluck, Florentine court favole, through Gluck’s fino alla ripresa comica di Offenbach. In reform, to Offenbach’s spoof. Hitherto una delle versioni si è celato finora un undetected in one retelling of the myth riferimento ad un’altra figura are allusions to another dramatic figure: drammatica: Otello. L’Orfeo di Aureli e Othello. Aureli and Sartorio’s L’Orfeo Sartorio (Venezia, 1673), un lavoro (Venice, 1673), a pivotal work in opera importante nella storia dell’opera seria, seria history, contains under the contiene un’imitazione dell’Otello di mythological plot an intentional Shakespeare, malcelata sotto il manto imitation of Shakespeare’s Othello. mitologico. Sebbene non sia chiaro While Shakespearean scholars don’t quando l’Otello sia arrivato a Venezia, i know when Othello reached Venice, the numerosi paralleli tra quest’Orfeo e similarities between this L’Orfeo and l’Otello non possono annoverarsi fra le Othello are too numerous to be coincidenze. -
Martha Jane Gilreath Submi Tted As an Honors Paper in the Iartment Of
A STTJDY IN SEV CENT1 CHESTRATIO>T by Martha Jane Gilreath SubMi tted as an Honors Paper in the iartment of Jiusic Voman's College of the University of Xorth Carolina Greensboro 1959 Approved hv *tu£*l Direfctor Examining Committee AC! ' IKTS Tt would be difficult to mention all those who have in some way helped me with this thesis. To mention only a few, the following have mv sincere crratitude: Dr. Franklyn D. Parker and members of the Honors -fork Com- mittee for allowing me to pursue this study; Dr. May ". Sh, Dr. Amy Charles, Miss Dorothy Davis, Mr. Frank Starbuck, Dr. Robert Morris, and Mr, Robert Watson for reading and correcting the manuscript; the librarians at Woman's College and the Music Library of the University of North Carolina through whom I have obtained many valuable scores; Miss Joan Moser for continual kindness and help in my work at the Library of the University of North Carolina; mv family for its interest in and financial support of my project; and above all, my adviser, Miss Elizabeth Cowlinr, for her invaluable assistance and extraordinary talent for inspiring one to higher scholastic achievenent. TAm.E OF COKTB 1 1 Chapter I THfcl 51 NTURY — A BACKGROUND 3 Chapter II FIRST RUB OR( 13 Zhapter III TT*rn: fTIONS IN I] 'ION BY COMPOSERS OF THE EARLY SEVE TORY 17 Introduction of nasso Continuo 17 thods of Orchestration 18 Duplication of Instruments 24 Pro.gramatic I'ses of Scoring .25 id Alternation between Instruments. .30 Introduction of Various Instrumental devices 32 Dynamic Contrasts 32 Rowing Methods 33 Pizzicato -
Christoph Willibald Von Gluck (1714-1787) Orfeo Ed Euridice
Christoph Willibald von Gluck (1714-1787) Act II Orfeo ed Euridice (Live recording of the 1762 Vienna Version) 16 Ballo 1. 16 17 Chi mai dell’ Erebo (Coro) 0. 26 18 Ballo 0. 45 19 Chi mai dell’ Erebo (Coro) 1. 01 1 Overture 3. 10 20 Ballo 1. 12 21 Deh! placatevi con me (Orfeo/Coro) 2. 19 Act I 22 Misero giovane! (Coro) 0. 56 2 Ah! se intorno a quest’urna funesta (Coro) 2. 29 23 Mille pene (Orfeo) 0. 46 3 Basta, basta, o compagni (Orfeo) 0. 49 24 Ah, quale incognito affetto flebile (Coro) 0. 43 4 Ballo. Larghetto 2. 11 25 Men tiranne, ah! voi sareste (Orfeo) 0. 39 5 Ah! se intorno a quest’urna funesta (Coro) 1. 53 26 Ah, quale incognito affetto flebile (Coro) 1. 20 6 Chiamo il mio ben così (Orfeo) 1. 11 27 Ballo 1. 59 7 Euridice! (Orfeo) 1. 10 28 Ballo 3. 43 8 Cerco il mio ben così (Orfeo) 1. 13 29 Che puro ciel (Orfeo/Coro) 4. 59 9 Euridice! (Orfeo) 1. 10 30 Vieni a’regni del riposo (Coro) 1. 16 10 Piango il mio ben così (Orfeo) 1. 08 31 Ballo 2. 27 11 Numi! barbari numi! (Orfeo) 0. 52 32 Anime avventurose (Orfeo/Coro) 0. 41 12 T’assiste Amore (Amore/Orfeo) 1. 49 33 Torna, o bella, al tuo consorte (Coro) 1. 18 13 Gli sguardi trattieni (Amore) 2. 42 14. Che disse! che ascoltai! (Orfeo) 1. 46 Act III 15 Presto 0. 38 34 Vieni: segui i miei passi (Orfeo/Euridice) 6. -
Christoph Willibald Gluck's Orfeo Ed Euridice & Orphée Et Euridice
August 6, 2020 – Christoph Willibald Gluck’s Orfeo ed Euridice & Orphée et Euridice On this week’s Thursday Night Opera House, we’ll hear two different versions of the classic Orpheus and Euridice story by the same composer. Orfeo ed Euridice was the first of Christoph Willibald Gluck’s three so-called “reform” operas (the others were Alceste and Paride ed Elena), in which a “noble simplicity” was intended to replace the complicated plots and florid musical style of opera seria. The original version, in Italian and set to a libretto by Ranieri de’ Cazabigi, was first performed at Vienna’s Burgtheater on October 5, 1762, where Orpheus was sung by an alto castrato. Gluck’s revised Orphée et Euridice was premiered on August 2, 1774 at the Royal Academy of Music in Paris, in French and with Orpheus sung by a tenor. When the original Italian version of the opera was revived in the 1920s the role of Orpheus was generally sung by mezzo- sopranos, but nowadays it’s generally sung by countertenors. The musician Orfeo/Orfée (mezzo-soprano Maureen Forrester/tenor Jean-Paul Fouchécourt) mourns the death of his beloved wife Euridice (soprano Teresa Stich- Randall/soprano Catherine Dubosc). Amore/L’Amour (soprano Hanny Steffek/soprano Suzie Le Blanc) tells Orpheus that Zeus will permit Euridice to return to Earth from Hades but if she is released, he must not look back at her until they have returned to the living world. Orpheus charms the Furies with the beauty of his singing and finds Euridice among the Blessed Spirits. -
L'orfeo FAVOLA in MUSICA Texts & Translations
texts & translations Claudio Monteverdi: L’ORFEO FAVOLA IN MUSICA ORFEO A TALE IN MUSIC Italian Libretto by Alessandro Striggio and English Translation by Gilbert Blin This libretto of L’Orfeo is mostly copied from the 1615 edition of Monteverdi’s score (second printed edition). One of the first known editions of the libretto has also been consulted as a reference for spelling, punctuation and lineation of versification: La Favola d’Orfeo rappresentata in musica Il Carnevale dell’Anno MDCVII Nell’Accademia de gl’Invaghiti di Mantova; Sotto I felici auspizij del Sereniss. Sig. DUCA benignissimo lor proterrore. In MANTOVA, per Francesco Osanna Stampator Ducale. 1607. Con licenza de’Superiori. This edition is, in academic opinion, closer to the text that Monteverdi had to hand when composing the music, although it is simply printed and contains a different ending to Act V as compared with the 1609 and 1615 scores. The disposition of capital letters in the Italian edition, used to attract the attention of the reader to a specfic word, has been respected in the formatting of the translation, as it is also considered informative today. Spelling has been sometimes modernized and capitalization of words, punctuation, and lineation – notably the entire end of Act V (text missing in Striggio) – are editorial. The translation of the libretto follows as much as possible the rhetorical order of the verses of the original Italian text. I would like to thank Andrew Sigel, my editor, for his precious help and advice. – Gilbert Blin, October 2012 earlymusic.bc.ca -
The Accademia Degli Alterati and the Invention of a New Form Of
chapter 3 The Accademia degli Alterati and the Invention of a New Form of Dramatic Experience: Myth, Allegory, and Theory in Jacopo Peri’s and Ottavio Rinuccini’s Euridice (1600)* Déborah Blocker On the evening of 6 October 1600, as part of the week-long festivities celebrat- ing the wedding by proxy of Maria de’ Medici and Henry IV of France, a new type of divertimento was staged inside the Pitti Palace in Florence. The per- formance was given in the apartments of Don Antonio de’ Medici (1576–1621) for the enjoyment of the official wedding guests of Grand Duke Ferdinando I de’ Medici (1549–1609), as well as a small number of Florentine courtiers. The piece was a poetic text set to music, staging a happy-ended version of the myth of Orpheus and Eurydice in stile recitativo. It bore the title Euridice and is often considered today to have constituted the first courtly opera. The performance also included an element that is usually absent from most modern operas: it was enhanced by ballets, sometimes involving the whole cast, as during the finale.1 Euridice’s libretto had been composed by the poet Ottavio Rinuccini (1562–1621), while the music was a creation of Jacopo Peri (1561–1633), both artists having worked in close collaboration with their patron, the Florentine merchant and music lover Jacopo Corsi (1561–1602). Corsi had financed and organised most of the court performance and went so far as to play the harpsi- chord to support the efforts of his protégés during the event. These men were not only tied by bonds of patronage and friendship; they were also tightly * I am very grateful to Tim Carter for his thorough comments on one of the last drafts of this essay.