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Home , Agrippina (opera), Alessandro (opera), Boris Goldovsky, Caligula (Glanert), Deidamia (opera), Flavio

JUNE 15 | A VIRTUAL CELEBRATION FOR THE GOLDOVSKY & ORFEO SOCIETIES

HOSTED BY MIMI HEWLETT AND RICHARD TRANT

ESTHER NELSON, STANFORD CALDERWOOD GENERAL & ARTISTIC DIRECTOR | DAVID ANGUS, MUSIC DIRECTOR | JOHN CONKLIN, ARTISTIC ADVISOR A VIRTUAL CELEBRATION FOR THE GOLDOVSKY & ORFEO SOCIEITIESOCIETIES

HOSTED BY MIMI HEWLETT AND RICHARD TRANT

PROGRAM

Program Selections...... 1

Costume Renderings...... 2

Artist Biographies...... 3

Acknowledgements...... 7

STUDY GUIDE starts on page 12 of this PDF

Giulio Cesare Synopsis...... 4

G.F Handel...... 14

Opera Seria...... 16

The Real Story of Cesare and ...... 20

Listen Up!...... 23

History of ...... 28

Science and Art of Opera...... 38 HANDEL

A Virtual Celebration for PROGRAM

THE GOLDOVSKY & ORFEO SOCIETIES OF ...... Wallis Giunta LYRIC OPERA Son nata a lagrimar...... Wallis Giunta & Renée Tatum

HOSTED BY Va tacito...... David Trudgen Mimi Hewlett and Richard Trant L’empio, sleale...... Siman Chung

V’adoro, pupille...... Jacquelyn Stucker June 15, 2020 5:30 PM | Social Hour Se in fiorito...... David Trudgen 6 PM | Performance Da tempeste ...... Jacquelyn Stucker

No ha più che temere...... Renée Tatum

Ritorni ornai nel nostro core...... The Company A LOOK AT GIULIO CESARE COSTUMES

Giulio Cesare, and his Roman compatriots, were designed The Egyptians were designed with a rich warm color in juxtaposition to the warm Egyptian color palette, created palette—decadent and divine, in direct contrast to Cesare in shades of black and grey punctuated with crimson and and all of our Romans with their austere and stately silver. His chest plate would have had the appearance of appearance. Cleopatra was to be revealed as though she being sculpted from white marble. For the finale he was to were bathed in the Nile with seafoam green silk, hammered be transformed and united with Cleopatra in rose gold and gold jewelery and studded with jewels. Later to be revealed bronze. as the living embodiment of Isis at Mount Parnasus in a gold lamé and silk chiffon fantasy.

Giulio Cesare (left) Cleopatra (right). Notes and renderings on the Giulio Cesare costumes by designer Charles Neumann. PROGRAM | 2 ARTISTS

DAVID TRUDGEN | RENÉE TATUM | Cornelia

Giulio Cesare Noted for her “commanding and Hailed in the press as one of dramatic presence” (), his generation’s most important mezzo- Renée Tatum is , David Trudgen rapidly gaining critical acclaim on has been featured in the title the most prestigious opera stages role of Handel's Giulio Cesare for Michigan Opera in the . Previously at Boston Lyric Opera, Theatre, as Medoro in Chicago Opera Theater’s she sang the role of Jenny in The Threepenny Opera. production of Handel’s , as Goffredo in Pacific Along with being scheduled to sing Cornelia in Giulio Opera Victoria’s , Bertarido in for Cesare for BLO, Ms. Tatum will return in the 2020/21 VOICEBOX: Opera in Concert, Armindo in Boston season for Champion: An Opera in Jazz. Baroque's and the workshop of Bound with Against the Grain Theatre. He previously appeared as in BLO's . WALLIS GIUNTA | Sesto

Mezzo-soprano Wallis Giunta was the winner of the Young Singer JACQUELYN STUCKER | category at the 2018 International Cleopatra Opera Awards and Breakthrough American soprano Jacquelyn Artist in UK Opera in the 2017 Stucker has been hailed by The WhatsOnStage Awards. Highlights in the 2019/20 Boston Globe as “glowing,” season included Dodo in the European premiere of “incandescent,” and “a singing ’s Breaking the Waves, and house debuts actress to be reckoned with.” Highlights of the 2019/20 for , Deutsche Oper am Rhein, and season included her Glyndebourne debut as Boston Lyric Opera. in ’s production of Rinaldo, in the Royal , ’s , and her principal artist debut at Deutsche Oper Berlin SIMAN CHUNG |

as Gretel in Hansel und Gretel. Siman Chung is from Busan, South Korea. He has been a member of The Company for three seasons and has sung leading roles in both Baroque and contemporary in North America and Asia. He made his Carnegie Hall debut in 2015. Mr. Chung is also a leading prize winner in many prestigious international vocal competitions.

3 | PROGRAM DAVID MCFERRIN | Achilla BRETT HODGDON | Piano

Praised by The Miami Herald for Pianist Brett Hodgdon has served his “commanding stage presence on the music staff for over 20 and a voice of seductive beauty,” productions at BLO and is a Jane David McFerrin has won and Steven Akin Emerging Artist critical acclaim in a wide variety of Alumnus. Mr. Hodgdon was repertoire. Mr. McFerrin is a mainstay of the Boston appointed Chorus Master for BLO in 2018. He has opera and concert scenes and has sung on many other taught on the opera faculties of the New leading stages in the United States and . He Conservatory, the University of Connecticut, and the last appeared as Senator Joseph McCarthy in BLO’s summer festival Si Parla, Si Canta in Arona, Italy. 2019/20 production of Fellow Travelers.

ASAKO SHIBATA | Piano NICHOLAS LAGESSE | Curio Asako Shibata started her piano Baritone Nicholas LaGesse is a studies at age three. She attended first year Jane and Steven Akin New England Conservatory where Emerging Artist with Boston Lyric she received Bachelor’s and Master’s Opera. Career highlights with BLO degrees in piano performance. Ms. include covering Silvio in Shibata’s recent local chamber music and collaborative and preparing Curio in Giulio Cesare. Additionally, Mr. performances include appearances at the Longy School LaGesse is excited to be appearing in BLO’s production of Music, Rhode Island College, the St. Botolph Club, of next season. and the Boston Philharmonic gala concerts.

GINA PERREGRINO | Nireno

Praised by Opera News as a “standout,” young mezzo-soprano Gina Perregrino is already garnering attention on stages around the country. Original engagements during Ms. Perregrino’s 2019/20 season, which was shortened by COVID-19, included a debut with Boston Lyric Opera, a return to Atlanta Opera, and appearances with the Phoenix Symphony and the New York Festival of Song.

PROGRAM | 4 ARTISTS

MICHAEL BEATTIE | KEVIN OWEN | Harpsichord Kevin Owen has been a horn soloist Michael Beattie has received with many throughout international attention as a New England and serves as the conductor, keyboardist, and vocal Principal Horn in the Boston Lyric coach specializing in the music of Opera . In addition to his the Baroque period. A highly regarded keyboard player, solo and chamber music experience, Mr. Owen also Mr. Beattie has performed with the Boston Symphony serves as the Principal Horn of the Boston Philharmonic, Orchestra, the Saint Paul Chamber Orchestra, Boston Rhode Island Philharmonic, Odyssey Opera, Boston Baroque, the Handel and Haydn Society, Les Violons Landmarks Orchestra, and the Boston Pops Esplanade du Roy, and the Mark Morris Dance Group. He is a Orchestra. lecturer at Boston University and, as of 2019, Director of the Virginia Best Adams Masterclass at the Carmel Bach Festival.

ANNIE RABBAT |

Annie Rabbat is Concertmaster of the BLO Orchestra. Ms. Rabbat has been a member of the orchestra since 2012 (her first BLO production was John Musto’s The Inspector), playing Principal Second Violin. She is also a founding member of Boston’s innovative, self-conducted , A Far Cry.

5 | PROGRAM MATTHEW OZAWA | CHARLES NEUMANN | Stage Director Costume Designer

American stage director Matthew Charles Neumann is a Boston- Ozawa has an international career based designer and illustrator and spanning all artistic disciplines, having has worked with organizations worked for prestigious companies including Edgewood Studios, worldwide including , Lyric Central City Opera, MassOpera, among others. Opera of Chicago, , Santa Fe Mr. Neumann has been featured in Boston Fashion Opera, Opera Siam, Macau International Festival, and Week and has shown at charity events including Oregon Shakespeare Festival. Additionally, Mr. Ozawa Urban Nights, a fundraiser for homeless and at-risk is the Founder and Artistic Director of Mozawa, a youth sponsored by Urban Peak, and WE CAN with Chicago-based incubator advancing collaborative art Mondo Guerra, sponsored by AIDS Connecticut. and artists. Giulio Cesare was to have marked his BLO Mr. Neumann holds a degree in Fashion Design and debut. Production from Lasell College and completed a costume internship with Central City Opera.

GARY THOR WEDOW | Conductor

Conductor Gary Thor Wedow has established an enviable reputation for dramatically exciting and historically informed performances with opera companies, orchestras, festivals, and choral organizations throughout North America. Opera News has hailed him for his “hot music making” and “convincingly elegant period style.” His debut with The New York Philharmonic was noted in for “a fleet, lithe orchestral performance, aptly complemented by the buoyant singing of the chorus.” He made his BLO debut conducting the BLO’s production of Agrippina.

BLO acknowledges the support of an anonymous donor in underwriting Gary Wedow’s crucial contribution in developing tonight’s program.

PROGRAM | 6 ACKNOWLEDGMENTS

This evening is generously sponsored The Singers are members of the American Guild of Musical Artists. by Mimi Hewlett and Richard Trant The Orchestra Musicians are members of the American Federation of Musicians of the United States and Video Produced by Canada. Scalped Productions | Ernie Galan Boston Lyric Opera is a member of OPERA America, This evening is produced by Boston Lyric Opera the national service organization for opera in the U.S. and Zachary Calhoun Canada. Nicholas G. Russell Gary Thor Wedow

OPERA AMERICA MOVING OPERA FORWARD

IMAGE CREDITS Costume designs and sketches for the 2020 BLO production of Giulio Cesare by and courtesy of Charles Neumann

Marble bust of at The Louvre, Paris Caesar Giving Cleopatra the Throne of Egypt Photograph by Alphanidon, Creative Commons, CC by Pietro da Cortona BY-SA 4.0 Courtesy of Musée des Beaux-Arts de Lyon https://creativecommons.org/licenses/by-sa/4.0 Photograph by Rama, Wikimedia Commons, Cc-by-sa- No changes were made 2.0-fre

7 | PROGRAM BOSTON LYRIC OPERA CELEBRATES ITS ORFEO AND GOLDVOSKY SOCIETIES

We wish to acknowledge 2019/20 members of the BLO Orfeo Society and invite others to renew or make a gift of $3,000 or more to support the art form you love.

Together, Orfeo Society members support the Company in all its endeavors from stage to community and in between, providing in excess of a half-million dollars of direct funding annually.

Orfeo Society members gain behind the scenes access to BLO artists and production team members, enjoying exclusive opportunities to explore opera and engage with others who share their passion.

Orfeo Society members enjoy: • Access to pre-curtain Orfeo hospitality lounges • Invitations to boutique private events • Opportunities to be part of the creative process through Deconstructing Opera Salons, workshops, virtual viewing parties, launch and wrap parties, and more.

Boris Goldovsky was a visionary teacher, stage director, conductor and impresario. Membership in The Boris Goldovsky Society is given in recognition of those who have made a provision in a will, living trust, deferred gift plan, or retirement plan that will benefit BLO.

Speak with your legal or investment professional about the various methods to make a deferred gift, including life insurance, retirement plan assets, real estate, and more. ABOUT BOSTON BOSTON LYRIC OPERA STAFF VOLUNTEER CORPS LYRIC OPERA

Esther Nelson Stanford Calderwood General Jeannie Ackerman Both locally and beyond, & Artistic Director Sharon Barry Boston Lyric Opera leads the way David Angus Music Director Katie Bauer in celebrating the art of the voice John Conklin Artistic Advisor Allyson Bennett through innovative programming Nicholas G. Russell Director of Artistic Operations Pam Borys Bradley Vernatter Chief Operating Officer Laima Bobelis and community engagement Karen T. Frost Chief Financial Officer Lynn Bregman initiatives that redefine the Jane Cammack operagoing experience. Susan Cavalieri ARTISTIC Caroline Cole Andrew Eggert Senior Manager, Artistic Michelle Chen Under the vibrant leadership of Stanford Zachary Calhoun Auditions Manager Ann D’Angelo Calderwood General & Artistic Director Sydney Mukasa Artistic Coordinator Karla De Greef Marshade Poo Esther Nelson, BLO’s productions have PRODUCTION Mary DePoto been described by the magazine Musical Jessica Johnson Brock Director of Production Frances Driscoll America as “part of the national dialogue” Ashley Shea Production Operations Manager Marian Ead because of their role as entry points for new Sophie Urquhart Production Administration Assistant Lee Forgosh Julia Noulin-Mérat Associate Producer Erin Frey audiences. The New York Times observed Audley Fuller that BLO “clearly intends [its productions] FINANCE & ADMINISTRATION Linda George to catch the interest of operagoers around Steven Atwater Senior Manager, Financial Mencken Graham the country.” Operations Rachel Hahn David J. Cullen Senior Manager, Accounting Christine Hauray-Gilbert Reingard Heller Finance Manager James Karg This view is shared by the nearly 25,000 Elisabeth Layne Finance & Office Coordinator Eva Karger people who experience BLO each Lizabeth Malanga Executive Assistant to the Milling Kinard Stanford Calderwood General & Artistic Director Esther Lable year through dynamic performances, Daniel Levin extensive partnerships with leading cultural EXTERNAL RELATIONS Richard Leccese organizations, and programs throughout Sarah B. Blume Director of Major Gifts Nancy Lynn our vastly diverse and exuberant Michele Walls Director of Development Domenico Mastrototaro Operations Terri Mazzuli community. Ashley Daugherty Development Coordinator Patti McGovern Kara Wasilauski Patron Relations Associate Anne McGuire BLO’s programming remains faithful Noah Stern Webeer Grantwriter Meg Morton to tradition while blazing new ground, Kameel Nasr Frank Impelluso Director of Marketing & Sales Gail Neff building audiences, and creating new ways Madison Marketing & Communications Cosmo & Jane Papa to enhance the opera-going experience. Coordinator Barbara Papesch BLO’s Jane and Steven Akin Emerging Jayne Gallagher External Relations Coordinator Manitari Araceli-Patterson Jeffrey Penta Artists hone their craft and prepare to Rebecca Kittredge Senior Manager, Audience Services & Analytics Nikta Sabouri expand their careers to other worldleading Micaela Slotin Audience Services Coordinator Elizabeth Sarafian stages. And BLO’s wide-reaching education Bailey Kerr Patron Services Associate Colin Sheehan initiatives introduce opera to new audiences JMK PR Public Relations Alexandra (Sasha) Sherman Yamel Rizk across generations. Rebecca Kirk Director of Education Programs Barbara Trachtenberg Sara O’Brien Senior Manager, Community Amy Walba Through your support and attendance, Engagement Gerry Weisenberg BLO employs nearly 350 artists and Catherine Doyle Events Coordinator Kenneth Westhassel Sarah Zimmer Education Programs Associate Beverly Wiggins creative professionals annually—vocalists, Patricia Au Resident Teaching Artist Debra Wiess artisans, , costumers, and Lydia Jane Graeff Resident Teaching Artist Alfred Williams scenic designers—many of whom are Lynn Williams Sybil Williams members of our own community. IRN Internet Services Website Leapfrog Arts Graphic Design The Company is proud to play a significant and meaningful role in Boston’s vibrant arts community. As of June 12, 2020 STUDY GUIDE Esther Nelson Stanford Calderwood General & Artistic Director David Angus Music Director John Conklin Artistic Advisor

June 12, 2020

Dear Learner,

Boston Lyric Opera invites high school and college students, as well as life-long learners of any age to engage with our operas beyond the stage. While we cannot welcome you into the theater to enjoy this rich and dramatic art form together, we are pleased to offer you this Study Guide to learn about George Frederic Handel’s opera, Giulio Cesare . We’ve included insights into the opera’s history with connections to contemporary culture.

Boston Lyric Opera’s mission is to build curiosity, enthusiasm, and support for opera. Opera is an art form that often contains big, difficult emotions, and BLO engages our community in many ways using opera to discuss these emotions that describe our human condition. This Study Guide is one way in which we inspire learners like you who want to dig deeper—whether you are opera- curious, or an opera-lover.

While the experience of seeing and hearing live, professional opera is second to none, we must pause for the moment. Meanwhile, we encourage you to explore the world of the opera at your home, in your virtual classroom, or on your own by visiting our digital platform [ insert: opera ] for a variety of new ways to engage.

If you would like additional resources for learning about opera, please reach out to our Education staff at [email protected].

Sincerely,

Rebecca Ann S. Kirk, M.Ed. Director of Education Programs TABLE OF CONTENTS

GIULIO CESARE SYNOPSIS 4

HIGH VOICES 9

THE BAROQUE SPIRIT 10

FERTILE GROUNDS FOR OPERA 12

GERMAN BORN, BOUND: 14

OPERA SERIA 16

GIULIO CESARE 18

THE REAL STORY 20

LISTEN UP! 23

GIULIO CESARE RESOURCES 26

HISTORY OF OPERA: AN OVERVIEW 28

THE SCIENCE AND ART OF OPERA 38

NOTES TO PREPARE FOR THE OPERA 46 STUDY GUIDE Giulio Cesare SYNOPSIS

While this opera is based in historical events, the details of the story are largely fictional.

Painting of by Peter Paul Rubens, c. 1625

4 GIULIO CESARE SYNOPSIS CHARACTERS

All of these characters are based on real people confirmed by the historical and archeological record.

ROMANS

Giulio Cesare (Julius Caesar), countertenor (historically ) Supreme commander of Roman Empire

Curio, -baritone Tribune of

Cornelia, Widow of Pompey

Sesto (Sextus), soprano Son of Pompey and Cornelia

EGYPTIANS Bust of what is believed to be Cleopatra, c. 50 B.C. – 30 B.C. , Brooklyn Museum Cleopatra, soprano Queen of Egypt

Tolemeo (King Ptolemy XII), countertenor (historically castrato) King of Egypt, Cleopatra’s brother

Achilla (Achillas), bass-baritone King Ptolmey’s counselor and Commander of his forces

Nireno, countertenor (historically castrato) Cleopatra’s servant and confidant

GIULIO CESARE SYNOPSIS 5 ACT I

Egypt. 48 B.C. The day after Julius Caesar defeats While Caesar is presiding over Pompey’s funeral his political opponent, Pompey, in a decisive military rites at camp, Cleopatra joins disguised as victory. Caesar is celebrating his victory with General Lydia. She find Caesar and tells him she is a Curio in Alexandria. Pompey’s wife, Cornelia, visits handmaiden in the palace, born noble, but Caesar and begs him to spare her husband’s life. Caesar betrayed by the king. Caesar is captivated by decides to grant him mercy. Just then, the King of Egypt, her, and agrees to become allies to secure their Ptolmey, and General Achillas arrive and present Caesar empires. Cornelia says a final goodbye to her with Pompey’s head! Even as Caesar is wary of Ptolmey, dead husband, while Sextus plots to kill King he agrees to a private meeting in the king’s quarters Ptolmey. Still in disguise, and now on the same at nightfall. As Cornelia mourns her husband, her son side, Cleopatra pledges her support and offers Sextus vows to avenge his father’s murder. Nireno’s assistance in sneaking Cornelia and Sextus into the palace. In the palace, Cleopatra plots to take sole possession of the throne from her brother, Ptolmey. Her servant, As Caesar reluctantly meets with King Ptolmey, Nireno, informs her of Pompey’s fate, and Caesar’s Cornelia and Sextus, having gained entrance to reaction. She schemes to ally with Caesar against their the palace, attempt to kill the king. He quickly common enemy. Meanwhile, Achillas informs King disarms and imprisons the pair. Achillas offers Ptolmey of Caesar’s disgust and wariness of the King’s Cornelia her freedom in return for her body. She honor, and proposes to murder Caesar, if he can have refuses, and Sextus says goodbye as the guards Cornelia in payment. Fearing Caesar and the strength of Roman Empire, King Ptolemy agrees to the deal. separate them.

Depiction of Caesar giving Cleopatra the throne of Egypt, painting by Pietro de Cortona, 16th c.

6 GIULIO CESARE SYNOPSIS ACT II

While Cleopatra (disguised as Lydia) enchants Caesar with her singing, Nireno gives him a message to go to her later that night.

Imprisoned, Cornelia fights off increasing advances from both Achillas and King Ptolmey. She desides to take her fate into her own hands and end her life, just as Nireno arrives with her son, freeing them both. Nireno explains the king’s plan to add Cornelia to his harem as his newest concubine. They plot to go along with King Ptolmey’s expectations so as to catch him by surprise when he is most vulnerable.

Just as Caesar joins Cleopatra in her quarters, Curio interrupts their tryst to inform them that the king’s assassins are searching for Caesar. Fearing for his life, Cleopatra reveals her true identity and begs him to escape. Caesar vows to uphold his honor and fight, while Cleopatra prays to the gods to protect him, realizing that Engraving of Ptolemy XIII of Egypt based off a medallion found she’s fallen in love. dated to 1st c B.C., Élisabeth Sophie Chéron (1648 – 1711).

Aerial view of Nile River as it borders Egypt.

GIULIO CESARE SYNOPSIS 7 ACT III

When King Ptolmey summons Cornelia from his harem Nile, Caesar washes ashore, alive. Nearby, Sextus to join him in his private quarters, Sextus ambushes the and Nireno find Achillas dead. Sextus and Nireno couple and attempts to kill him. However, Achillas swiftly find Caesar, and the three regroup to storm King disarms Sextus again and declares war. Rumors fly that Ptolmey’s palace. Caesar has drowned in the Nile after he fled the palace. Cleopatra arrives at the Roman camp to rally Caesar’s In prison, Cleopatra vows to face death with army to march on the king’s palace. As King Ptolmey honor, by her own hand, just as Caesar rescues prepares his own troops, Achillas discovers King Ptolmey her. Cleopatra combines her forces with Caesar’s plans not to keep his promise and take Cornelia for his they attack the unsuspecting king, who believes own. Achillas declares his new allegiance to Cleopatra. he is victorious. Sextus finally delivers a fatal blow and frees his mother. Victorious at last, Caesar The armies clash and the Alexandrians defeat the crowns Cleopatra the rightful Queen of Egypt and Romans taking Cleopatra captive. On the beach of the the lovers celebrate.

Map of Alexandria, 30 B.C., from William Shephard’s 1911 Historical Atlas

8 GIULIO CESARE SYNOPSIS HIGH VOICES

Countertenors, who have the highest male , train for many years to develop their , or , and sing the same notes as a soprano. The roles that countertenors perform in Baroque opera today, were traditionally written for castrati. Castrati were adult male singers who retained their pre-pubescent vocal range as a result of castration. Men who were castrated to serve specific social roles—often servants—are referred to broadly as eunuchs. The practice dates back to 2100 B.C. In the 16th Century, castrati became popular in sacred and secular music, as women were not allowed to perform in public. Opera as an art form emerged at this time, and castrati roles were often written to portray the heroic lead— especially as performances were held outdoors and high voices could be heard more clearly over the orchestra. Castrati went out of fashion around the 1830s, when composers began to write for women on the stage, and the health hazards to castration became more widely known. Today, when we interpret Baroque opera, countertenors take on the heroic male leads, while women may play young Portrait of Carlo Maria Michelangelo Nicola Broschi, or “,” portrait by Jacopo Amigoni, c. 1750 men in a “pants role.”

Pay Day! Castrati were be paid up to 3,000 guineas a year to perform. That is about $400,000 today! .

HIGH VOICES 9 THE BAROQUE SPIRIT

The Baroque Era lasted roughly 150 years, and Growing trade and travel influenced substantially contributed to our musical language. composers as well, who began to learn and We mark the beginning of the Baroque Era around borrow from each other across regions and 1600, ushered in by composer countries. Notable Baroque composers across (1567-1643), who is attributed with writing the Europe include Jean-Baptiste Lully (1662- first opera that became widely popular. Many 1687) in France, (1659-1695) in composers and musicians followed him, ending England, (1678-1741) in Italy. with the beginning of Mozart’s career. The Baroque Era ignited different ways of thinking about music and its purpose—beyond the sacred and liturgical. The composers contributed innovative instruments, musical structures, theories, and conventions— shaping the music and opera to follow.

The term Baroque comes from one of two sources—and is still disputed. The term’s most commonly accepted origin is the Portuguese barroco meaning “oddly shaped pearl;” and was cast as an insult by contemporary critics to the over-exaggeration of the art. Baroque wasn’t used as an accepted signifier of the artistic period until the 19th century. Alternatively, it may have derived from the Italian barocca, which was used to describe “an obstacle to logic.” In other words, the music and art of the time were contrary to rational thinking, evoking emotions instead.

Defining the Baroque era, composers invented new compositional structures, including the Harpsichord from c. 1749. concerto, sonata, suite, fugue, and the . The concept of designating a key signature for a piece of music began to be formally included in compositions (previously, it would have been agreed upon by the performing musicians). Composers began to designate specific instruments to a certain part, laying the groundwork for the modern day symphony.

10 THE BAROQUE SPIRIT Unfortunately, there is no way to know what Instrument Construction: Baroque music truly sounded like, because modes Stringed instruments were made using strings out of recording music had yet to be invented, and so of animal intestines instead of metal, which gave only written accounts from critics, scholars and a more mellow tone to the sound. As you might the composers themselves exist. However, many imagine, the woodwinds were made entirely of scholars and musicians have tried to authentically wood. Today they are often made of a combination recreate the original sound by being specific of wood and metal, or entirely metal like a flute. about the following attributes: Instrument Tuning: Instruments: In 1939, all orchestras agreed to tune their Some of the same instruments we know today instruments to an A, which is a frequency of were already invented and played widely 440 hertz. , Before then however, there was no during the Baroque period, but others such as widely agreed upon fixed pitch standard. Therefore the harpsichord—(an earlier version of a piano), instruments in an ensemble would tune to each lute, and da gamba—which looks similar other in the moment of the performance resulting in to a but is tuned differently and has six a wide variety of possibilities. rather than four strings—are not very common in modern orchestras. These instruments also Musical Technique: sound very different. The instruments used in Baroque music scores contained little indication Giulio Cesare are 2 , 2 , 1 viola, 1 of articulation, ornamentation, and dynamics— harp, 1 viola da gamba, 1 tiorba (a type of lute), 1 specificities in performance that composers came cello, and 1 . Ensembles were also much to notate later. Much more of the interpretation of smaller than the modern-day orchestra. the music was left to the ensemble players and the conductor. In addition, musicians literally created sound differently than is standard training today. For instance, string players used their bows to create , rather than their fingers.

Generally, Baroque music is characterized as one seamless, forward-moving melodic texture and mood that is expanded upon over time. Simple polyphony was heavily ornamented, and underscored by a unrelenting through-line. The instrumentalist or vocalist performing the melody was expected to show virtuosity. Borrowed from the Italian word meaning “full of virtue”, the word began to be used in the English language during this time period to describe musicians who were exceptionally skilled. Baroque music often described the tension between religious piety and human emotion, with emerging Enlightenment values weighing in on this epistemological quandary as the decades passed. Gut strings on a violin.

THE BAROQUE SPIRIT 11 FERTILE GROUNDS FOR OPERA

The early 18th century was an age of exuberance and appealed to the senses. Whether, through fashion, architecture, visual art, or music, the cultural world displayed an opulence and celebrated abundance, wealth, and prosperity. Think of pieces in an art museum like the Museum of Fine Arts Boston, where the intricate, gilded pieces with swirling brush strokes and vibrant colors catch your eye. The nobility and the Catholic Church held considerable sway over the creation of these works, as they were the primary commissioners and funders; and therefore, the content was devoted to the splendor of the divine. Baroque architecture, such as King Louis XIV’s ornate Palace of Versailles outside of Paris, France, was built to display the expansive power, wealth, and elegance of the monarch. Visual artists who were well-known during this time included Caravaggio, Rembrandt, and Rubens. Example of Baroque architecture, Church of Saint Ignatius of Loyola, Rome, Italy. Designed in 17th century. The explosion of creation during the Baroque era along with the trend for powerful nobility to display their wealth through the commissioning of these works, led to the popularity of art and music during this time, and increased its access. Benefactors sponsored performances of pieces they commissioned, and opened attendance beyond their small social circles, creating large festivals and the emergence of opera houses for the general public. Music was commissioned for important occasions like high masses or coronations. Handel’s own Messiah (1741), is perhaps the most famous example. Golden gate entrance to the Palace of Versailles, France.

12 FERTILE GROUNDS FOR OPERA Handel and his contemporaries, including Johann Sebastian Bach (1685-1750) and (1685-1757), defined Baroque music through their musical Baroque in Boston Boston is home to one of the oldest contributions and innovations. They laid historical performance ensembles in the groundwork for the next musical era the United States, The Handel & Haydn to emerge—the Classical Era, which further Society. Founded in 1815, H+H is still infamous for Baroque and early Classical structured and layered the newly invented performances—often on historically musical forms. accurate instruments.

This “early-music” faded into history for around a century until it was revived in the 20th century with renewed interest in historical performance practices. Today there are hundreds of ensembles dedicated to the performance of Baroque music. The music influenced 20th century composers, namely Ralph Vaugh as well as other musical genres, such as Jazz and Musical Theater.

HAVE YOU HEARD THIS MUSIC? Aside from Handel’s music, perhaps one of the most recognizable tunes from the Baroque period is one by German composer Johann Pachelbel composed sometime during the 17th century: his Canon in D major. Its popularity soon faded into history until musicians in the 1960s, 70s, and 80s revived it from relative obscurity hundreds of years later. It became so popular, it reached number one in the classical music charts in 1982! It has been used in soundtracks of major films, and even pop and rock bands were inspired by the structure. If nowhere else, you have likely heard it at a wedding or a funeral, as it is frequently used as part of Announcement for Handel & Hayden Society 1861 Christmas ceremonies since the 1980s. Concert, featuring Handel’s Messiah.

DISCUSS: How does Baroque artists’ work influence arts and culture today? 13 GERMAN BORN, LONDON BOUND: GEORGE FRIDERIC HANDEL

Over his lifetime, George Frideric Handel composed established a home there in 1711. London was 42 operas—all but one in Italian, 25 , more full of successful playwrights, offering Handel than 120 , 18 concerti grossi, and 12 organ a great amount of source material, yet opera concertos, as well as immeasurable trios and duets, was still foreign to audiences there. In 1719, , chamber music, liturgical pieces, odes and the first company, The Royal serenades. His contributions to Baroque music Academy of Music, was founded under Queen were vast and he earned the praise of churches, Anne’s patronage with Handel as the Master nobility, and public patronage alike with his virtuosic of the Orchestra, a position he held when he combination of German-influenced lush harmonics, wrote Giulio Cesare. with structure, all while balancing strong emotiveness.

Handel was born in Saxony on February 24, 1685. Handel showed an early interest and aptitude for music, yet his father forbade any “meddling with musical instruments” in the home, and pushed him toward the study of law. In spite of this, Handel persisted in his musical study, and at age 17, was appointed organist at his local church, launching his career. Soon after, he moved to to play in the orchestra and while there, composed three operas—including his debut opera, (1705) when he was only 19.

Word of Handel’s talent solidified his career by ensuring a steady stream of commissions and wealthy patronage. He moved to Italy in 1706, establishing his opera career there as well, and subsequently introducing Italian opera to the London stage—his opera Rinaldo, when he

Portrait of G.F Handel, by Balthasaar Denner, 1726

14 GERMAN BORN, LONDON BOUND: GEROGE FRIDERIC HANDEL newly colonized lands, all under an empire steeped in faith in the monarchy and God.

“My lord, said Handel, ‘I should be sorry if I only entertained them, I wish to make them better”

–James Beattie, Lawyer & critic, 1780

In 1727, Handel was commissioned to write the anthem for King George II’s coronation. The oratorio he wrote, , has been used for every English coronation since. After Postcard of London, 1751 finishing his final opera, (1741), he transitioned completely into writing oratorios—some of which are to this day, the most lasting and frequently performed vocal music in English. An LOCATION, LOCATION! oratorio tells a story like an opera using similar We now call the King’s Theatre in London, mythological or biblical sources, but is performed where many of Handel’s operas premiered, in a concert hall without scenery, costumes, or Her Majesty’s Theatre—presently home to a staging. Some of Handel’s oratorios included Israel long-running West End show, The Phantom of the Opera. in Egypt (1739), (1744), and the Messiah (1741), the latter of which he wrote in only 24 days!

Handel’s early style resembled the earliest Italian “Handel had this power…you may despise what operatic conventions, with his opera Agrippina you like, but you cannot contradict Handel” (1709) marking the beginning of his opera seria compositions. Handel was also prolific; – George Bernard Shaw, Playwright and Poet, 1918. composing five operas in one year (1724-25): , , Giulio Cesare, , Handel lived the rest of his life in England as and Rodelinda. As far as subject matter, his a citizen. He died at age 36, and is buried in operas often constituted of a love story within under a statue of himself the dramatization of an ancient tale—biblical holding a score of his beloved most recognizable or otherwise. He was fascinated by other lands oratorio, the Messiah. Even as he was born and cultures—influenced no doubt by growing German, Handel is widely accepted as an English British exploration and colonization of Asia—as composer, and rests next to famous Englishmen exemplified in Orlando (1733), one of several including and Charles Darwin. His of operas he set in Persia. Handel’s lifetime operas and oratorios are the most enduring and was dominated high society intrigue, political beloved of all his works, and he is known forever affiliations with nobility, and overseas trade in for introducing opera to the British people.

DISCUSS: What famous musicians or other artists can you think of that are claimed to be from a certain place, even if they were born elsewhere and chose to build their life away from their home country? 15 OPERA SERIA

Drawing of Baroque theatre in Austria, late 18th century.

Handel’s operas dominated the stages well into FUN FACT: The great Roman orator Cicero the 18th century and have defined the opera seria defined oratory as to “delight and instruct” through connecting to people’s emotion, genre. Composer and theorist Claudio Monteverdi often in a political context. (1567-1643) who is attributed to writing the “first” opera—or at least the first one that has stood the test of time—premiered L’Orfeo in 1607. Monteverdi The subjects of opera seria were inspired by fueled a movement with the primary intention ancient Greek, Roman, and biblical heroes, and being dramatic impact. Music would no longer often took place in “exotic” change were to be to just delight, but used instead to morally are lands. Plots are centralized around six main and politically instruct through storytelling to characters and feature political intrigue, disguises, and seduction. The central conflict is often between inspire empathy. Early opera seria that influenced love and duty, while underscoring moral messages Handel’s work included Francesco Cavalli’s that virtue should be celebrated and sin forgiven. Giasone (1649), who for the first time separated Characters express deep and often conflicting the and into two distinct musical emotion—a word choice - too much “character” in forms; and Henry Purcell’s sentence that continues to characterize opera even (1683), the first opera in English. as operatic conventions evolve.

16 OPERA SERIA Opera seria featured big dramatic arias, especially powerful aria moment was meant to capture their for the castrati, and later, , which were attention and take in the singer’s extreme emotion. favored over duets and choruses. The voice, regarded as the most nuanced instrument, is showcased as the The is a very specific form that follows most powerful for oration. The alternating recitative a set structure of A,B,A. The first section (A) sets and da capo aria structure defines Handel’s style the mood, and the character lays out situation and specifically, among opera seria composers. The how he or she feels about it. The second section recitative is lightly underscored, and the da capo aria (B) highlights a conflicting feeling, bringing up has full orchestral support. The meaning of the text another side to the issue and the character as they and the musical expression is more closely considered, process emotions. The final section (A) returns with poetic language and musical dramatization to the original melody of the first section, but the accentuating each others possessive meaning. emotion is heightened as the full complexity of the situation is digested. The singer expresses this During a da capo aria, time stops and allows for a through the addition of ornamentation—improvised character to expand upon the emotional moment, not embellishments that shows off the singer’s specific unlike a soliloquy in Shakespeare’s works. While by virtuosity. In fact, the third section, referred to as the today’s standards, opera seria may seem excessively “da capo” translates to, “from the head” or “from long and repetitive, theater-goers of Handel’s day treated the top.” You might recognize this musical form as a night at the opera as one might watch a movie at it has continued to dominate musical songwriting home today. Spectators often socialized, snacked, and through the emergence of many genres including moved about the space to visit friends, which is why this jazz, blues, and even popular music.

Illustration of a performance of Handel’s Flavio, John Vanderbank, 18th century.

ACTIVITY: Write your own da capo aria! Take inspiration from your life and explore how you would describe the emotions you felt during that time. FIERCE WOMEN 17 GIULIO CESARE

Giulio Cesare in Egitto (commonly shortened to Giulio Cesare) is Handel’s most frequently- performed opera. It was his fifth full-length opera for the . It was met with adoring audiences at the premiere in no small part due to the best orchestra, a librettist who specialized in the ancient material, the best castrato (Francesco Bernardi a.k.a “Il ”), and a far longer period than the two to four weeks that Baroque composers normally had to produce a finished piece. These circumstances set the stage for a fully developed opera seria, with time to spare for rewrites and rearranging to create fully developed music and characters. It received 13 performances during its first run at the King’s Theatre in Haymarket, London, in February 1724, and was revived three times in Handel’s lifetime alone!

Nicolo Francesco Haym was Handel’s primary librettist while in London at the Academy where he wrote Giulio Cesare. Haym was a cellist and secretary for the Royal Academy of Music. He was appointed as secretary due to his enormous success in adapting Bononcini’s Camilla, the first Italian opera at Drury Lane in London, in 1706. Apart from his post at the Academy, he was an avid antiquarian who published many volumes on Cover of 1724 version of Giulio Cesare manuscript. customs and cultures of ancient societies. He took to his work as librettist with dedication, as the subjects of the operas aligned closely to his passions in antiquity and coincided the growing availability of ancient Roman and Egyptian artifacts. Haym adapted Giulio Cesare for Handel from a 1677 work by Giacomo Bussani, with music by Antonio Sartorio. It was very common for librettists of

18 GIULIO CESARE Engraving of prologue from Giulio Cesare, by Thomas Lediard, 1727. the time to use an existing work. Haym’s version, time Giulio Cesare was revived in the 20th however, is annotated with ancient sources and century was in Germany in 1922, by Oskar where he strayed from fact. Hagen who attempted to recreate it in the most authentic way possible. Subsequent productions continued well past Handel’s death. Over the years, arias were added Why, of all of Handel’s operas, is Giulio and roles were sung by different voice types. Cesare the most enduring? Perhaps it’s due to Baroque music fell out of favor for a century the familiarity of the subject matter. The story or so until early 20th century opera houses of the Roman falling in love with the Egyptian rediscovered his masterworks and brought queen has been told and retold in many them back into popular performance. The first different media over the centuries.

DISCUSS: How would you retell the story of Julius Caesar for today’s audiences through music and theater? What would it sound like? What would the costumes look like? Where might it be set? FIERCE WOMEN 19 THE REAL STORY

Handel’s opera features two of the most famous characters in history: the Egyptian Queen Cleopatra, and Roman General, Julius Caesar. The story of their lives have been retold and adapted numerous times in opera, theatre, literature, film, and visual art. Handel and Haym portrayed them in Giulio Cesare as citizens of the 18th century, when ancient Roman and Egyptian history was critical knowledge for educated young men, and the history of the Roman Empire was often used as a frame of reference for contemporary political debates. Though their anachronistic lens affected how the characters were crafted, Handel and Haym more or less stayed true to history.

The Great Roman Civil War lasted from 49- 45 B.C. Before becoming an empire, Rome was a Republic, the Roman government albeit mismanaged by nobles and political influencers. Three men, Caesar, Pompey, and Crassus, formed the First Triumvirate to combat the mismanaged government. However, when Crassus was killed, Pompey retracted his allegiance to this Painting, Caesar and Cleopatra, Jean Leon Gerome, 1866. rebellion. Caesar—with armies at his disposal, having just conquered Gaul—crossed the Rubicon continuing the war on his land, King Ptolmey has River separating his province, Gaul, from Rome. Pompey killed. The battle of Alexandria and The Marching on Rome, the war between Caesar and Battle of the Nile unfold, which secures Caesar Pompey began and sparked political struggles and Cleopatra’s infamy as rulers of great ancient across the Roman Empire, which included in civilizations. Caesar apparently was at first a modern day Italy, Africa, Greece, and Spain. Prior proponent of Cleopatra sharing her rule with her to the events told in Giulio Cesare, Pompey was brother, that is until the risk of his life became defeated at the Battle of Pharsalus in Greece and so great it required him to obtain a foothold in fled to Egypt, unaware that King Ptolmey was in Egypt. And, though Cornelia’s son Sextus gets his the midst of his own struggle for power with his revenge in the opera; historically, King Ptolmey sister, Queen Cleopatra. dies by drowning in the Nile, not by assassination.

From here the events of the opera unfold: to exert Handel and Haym took liberties while adapting dominance and to avoid Pompey and Caesar the story to maximize conflict, and thus, the

20 THE REAL STORY emotions in their opera. Ancient sources verify the historical record of Caesar and Cleopatra, but many details have be reframed and interpreted over time with scholarly and artistic retelling. The Greek historian Plutarch, offers several clues into the two lovers’ real relationship. Caesar and Cleopatra did have a romance and they even had a child together, but the alliance was primarily political even as Caesar remained in Egypt past the events of Giulio Cesare, leaving Rome ungoverned for a while. Cleopatra had a second famous romance with another Roman, Mark Antony—a separate tale that inspired more great theater and opera from such greats as Shakespeare and George Bernard Shaw.

FACT CHECK: Another notable addition in the is Caesar’s famous proclamation: “Veni, vidi, vici!” or “I came, I saw, “I Elizabeth Taylor as Cleopatra in Cleopatra, 1963. conquered!” Historical accounts state he, in fact, did not make this statement until a few weeks after he left Egypt. King Ptolmey’s palace, but her political career was tactful until her end. Like other great rulers, she ended her life by her own hand, Throughout world history, marriage for monarchs poison (many narratives say snake bite), was often strategic, and purposefully political, yet when she lost her love, Mark Antony, and it was rare for a woman to have so much agency Rome took Egypt. She was very well-liked by in this political posturing. Egyptian women had her kingdom, which enjoyed great prosperity more rights than Roman women and Cleopatra during her reign, and the city of Alexandria used this to her advantage, pursuing men for became major center for trade and industry. political gain. She was a powerful, unwavering ruler, and Handel gave the character of Cleopatra Julius Caesar was a charismatic politician, eight arias to illustrate the many facets of herself. general, and writer. He entered politics through the military, rather than his family, and rose Cleopatra did what the men were doing—raising through the ranks. His greatest accomplishment armies and killing family for power, and using was bringing Gaul into under the Roman control charm to gain favor with the public. She was the Roman Empire, which he conquered despite cunning in attempting to edge her brother out of them having a larger army. Caesar wrote about power even before Caesar declared her Queen; the Gallic Wars and The Roman Civil War in and like other great rulers, she sought loyalty in large volumes of work that offer us insight into foreign ties over her own family. Characterized his person, career, and influences. He was often as intensely charismatic and seductive, she was compared to various Roman gods. Ceasar’s also highly intelligent. No one knows whether leadership style—popular with the masses and she rolled herself up into a carpet, or whether good with the military—has been mimicked by she really did disguise herself to gain access to other autocratic leaders such as Benito Mussolini.

THE REAL STORY 21 Before his assassination, Caesar reformed the equals, and Handel offered a rare glimpse Roman calendar, revived ancient cities, and of their passion in an otherwise calculated offered more opportunity for Roman citizenry. public and political life. Like Cleopatra, he was determined to gain political favor, and also used marriage as a way to do so. Interestingly, many artistic treatments THE SILVER SCREEN of Caesar paint him as a merciful, clement ruler. The rise of the film industry brought with In Handel and Haym’s libretto, he comforts it a new medium and fresh audiences Cornelia and rejects King Ptolmey’s “gift,” treating to retell these ancient stories on screen. him as such, casting in a positive light. Handel Classic films including Cleopatra, The and Haym make him a heroic character against Sign of the Cross, Caligula, Spartacus, and Gladiator are perhaps some of the an evil, scheming one. Handel’s arias written for most well-loved. America continues to Caesar show us his moments of human passion use the great civilization of Rome as a between his political strategizing. Historians note touchpoint for democracy and leadership that Caesar’s attraction to Cleopatra was a rare on the world stage. moment of illogical coupling. The pair are clearly

Still from Gladiator, 2000.

DISCUSS: What aspects of Ancient Rome are most interesting or relatable to you or our present day society? How so? 22 LISTEN UP! LISTEN UP!

The Roots of Baroque Opera

Claudio Monteverdi, 5th Book of Madrigals, Cruda Amarilli (1605) recorded by Concerto Italiano Monteverdi was considered a transitional figure between Renaissance and Baroque music. The madrigal was a popular form of music in the Renaissance era and highlighted moving harmonies between several voices. Compare this piece with Handel’s Messiah below. How is the voice used differently? Do you hear similarities? https://www.youtube.com/watch?v=bKTQQ28sSNo

The Master of Oratorios

George Frederic Handel, Messiah (1741), recorded by Mormon Tabernacle Written over a hundred years after Monteverdi’s madrigal, the Messiah is Handel’s most famous oratorio performed across the globe each year. The “Hallelujah” chorus that you hear in this clip, is something you’ve likely heard before. Oratorios tell a story. What part of the story does this feel like? What in the music helps you know that? https://www.youtube.com/watch?v=VI6dsMeABpU

The Baroque Orchestra This playlist features professional musicians demonstrating instruments from the Baroque era. How do these instruments sound different to you than instruments you are familiar with hearing in a modern orchestra? Do you prefer one or the other? https://www.youtube.com/watch?v=jQC4mglx5uE&list=PLa0I2f4DpWlonE2ESxBKRg8Ft-ttK4_Eh

Male High Voices Compare and contrast these two recordings. The first is Alexander, the second is Michael. What feelings does it evoke for you when you hear a male voice singing those notes?

Michael Karow, Countertenor, Dorian Vocal Festival Grand Concert, 2006. https://www.youtube.com/watch?v=K3Kn78Fb50U

Alexander Moreschi, the last known castrato, singing “Ave Maria”, recorded in the early 20th century. How does this make you feel differently than a typical male voice? How does his countertenor voice compare to the castrato? https://www.youtube.com/watch?v=KLjvfqnD0ws

“Va tacito,”Act 1, Sarah Connelly as Caesar, Glyndenbourne, 2018 Listen closely for the da capo aira from Act One Giulio Cesare. What aspect of Caesar do you think this aria is portraying, a more logical side of Caesar, or more passionate one? Does it feel like the Julius Caesar you imagine in your head? Why or why not? https://www.youtube.com/watch?v=fieBT98DCLc

LISTEN UP! 23 LISTEN UP!

Cleopatra’s arias from Giulio Cesare These two Cleopatra arias follow each other in the opera. What emotions, or aspects of Cleopatra’s character can you hear in the music? What change in Cleopatra’s feelings do you sense from “venere bella” to “se pieta”? How does the orchestration accompany what she is feeling? Is the aria or recitative part more interesting to listen to?

“Venere Bella”, Act 2 as Cleopatra, Metropolitan Opera, 2013 https://www.youtube.com/watch?v=i7BpR_uIpWo

“Se Pieta”, Act 2, Natalie Dessay as Cleopatra, Metropolitan Opera, 2013 https://www.youtube.com/watch?v=HzV1FNfCbbks

“Blue Skies,” (1958), Ella Fitzgerald Thinking about the arias you’ve heard above, listen to this classic Jazz standard. How does the vocalist use her voice in similar ways? Does the structure of the piece remind you of da capo aria, or does it stray from it? How does Ella ornament her vocal line? https://www.youtube.com/watch?v=nB-xqDZbEVQ

Baroque Then, and Now

Antonio Vivaldi’s Four Seasons, Spring (1716), Itzhak Perlman conducts Israel Philharmonic One of the most enduring examples of Baroque music, as beloved now as it was when it was written. Vivaldi wrote this set of four concertos, one of the new forms that emerged during the era, as a musical interpretation of a season. What do you hear in the orchestration that makes the listener experience the sense of “spring?” What elements of Baroque music catch your attention most? The bass line? Or certain ornamentations? https://www.youtube.com/watch?v=TKthRw4KjEg

Philip Glass, Harpsichord Concerto (2002), San Francisco Conservatory of Music New Music Ensemble Now listen to ’ Harpsichord Concerto written in 2002. What elements of Baroque music do you hear in this piece? What other influences do you hear? How is it similar, or different from Vivaldi’s Four Seasons? https://www.youtube.com/watch?v=PveH9SNHKq4

24 LISTEN UP! ? GENERAL QUESTIONS TO GUIDE YOUR LISTENING

• What instruments do you hear? • How fast is the music? Are there sudden changes in speed? Is the rhythm steady or unsteady? • Key/Mode: Is it major or minor? (Does it sound bright, happy, sad, urgent, dangerous?) • Dynamics/Volume: Is the music loud or soft? Are there sudden changes in volume (either in the voice or orchestra)? • What is the shape of the melodic line? Does the voice move smoothly or does it make frequent or erratic jumps? Do the vocal lines move noticeably downward or upward? • Does the type of voice singing (baritone, soprano, , mezzo, etc.) have an effect on you as a listener? • Do the melodies end as you would expect or do they surprise you? • How does the music make you feel? What effect do the above factors have on you as a listener? • What is the orchestra doing in contrast to the voice? How do they interact? • What kinds of images, settings, or emotions come to mind? Does it remind you of anything you have experienced in your own life? • Do particularly emphatic notes (low, high, held, etc.) correspond to dramatic moments? • What type of character fits this music? Romantic? Comic? Serious? Etc.

LISTEN UP! 25 GIULIO CESARE RESOURCES

Metropolitan Opera Giulio Cesare Study Guide and Learning Activities

Full Libretto (English Translation)

Early Music in Boston: Handel & Hayden Society

26 GIULIO CESARE RESOURCES BOOKS

Drummond, J. D. (1980). “Opera Seria.” In Opera in perspective . Harris, E. T. (2014). George Frideric Handel: a life with friends. Schiff, S. (2011). Cleopatra: A Life. Schmidgall, G. (1977). “Handel, the Passions and Eighteenth Century Aesthetics.” In Literature As Opera

MAGAZINES

Crawford, A. (2007) Smithsonian Magazine. Who was Cleopatra? Mythology, propaganda, and the Real Queen of the Nile. Retrieved from https://www.smithsonianmag.com/history/who-was-cleopatra-151356013/

WEBSITES

About Handel. Handel and Hendrix Society. Retrieved from https://handelhendrix.org/learn/about-handel/ Classic FM. The story of Baroque opera from 1600. Retrieved from https://www.classicfm.com/discover-music/periods-genres/baroque/baroque-early-opera/ Giulio Cesare. Handel and Hendrix Society. Retrieved from https://handelhendrix.org/learn/about-handel/opera-synopses/giulio-cesare/ Imperium Romanum. Great Roman Civil War. Retrieved from https://www.imperiumromanum.edu.pl/en/roman-wars-and-uprisings/great-roman-civil-war/ Music of the Baroque. What is Baroque Music? Retrieved from https://www.baroque.org/baroque/whatis . (2019) Giulio Cesare in a nutshell. Retrieved from https://www.operanorth.co.uk/news/giulio-cesare-in-a-nutshell/ San Diego Opera Operapaedia. Handel, Giulio Cesare and Opera in 18th Century England. Retrieved from http://sdopera.org/Content/Operapaedia/Operas/JuliusCaesarinEgypt/Composer.htm The Metropolitan Opera. Giulio Cesare Synopsis. Retrieved from https://www.metopera.org/user-information/synopses-archive/giulio-cesare Victoria and Albert Museum. 18th Century Opera. Retrieved from http://www.vam.ac.uk/content/articles/0-9/18th-century-opera/

ENCYCLOPEDIA

Baroque art and architecture. In Britannica. Retrieved from https://www.britannica.com/art/Baroque-art-and-architecture Cox, T. (2017) Ptolemy XII Theos Philopator. Ancient History Encyclopedia. Retrieved from https://www.ancient.eu/Ptolemy_XIII_Theos_Philopator/ Julius Caesar. Britannica. Retrieved from https://www.britannica.com/biography/Julius-Caesar-Roman-ruler Opera-Online. Giulio Cesare in Egitto. Retrieved from https://www.opera-online.com/en/items/works/giulio-cesare-in-egitto-haendel-haym-1724

GIULIO CESARE RESOURCES 27 RENAISSANCE BAROQUE CLASSICAL

1500 1600-1750 1730-1820

28 THE HISTORY OF OPERA THE HISTORY OF OPERA People have been telling stories through music for millennia throughout the world. Opera is an art form with roots in Western Europe dating back hundreds of years. Here is a brief timeline of its lineage.

ROMANTIC 20th CENTURY

1790-1910 1900

THE HISTORY OF OPERA 29 1598 Jacopo Peri, a member of the Camerata, composed the world’s first opera – Dafne, RENAISSANCE reviving the classic myth.

1573 1607 The Florentine Camerata was founded in Claudio Monteverdi (1567-1643) wrote Italy, devoted to reviving ancient Greek the first opera to become popular, Orfeo, musical traditions, including sung drama. making him the premier opera composer of his day and bridging the gap between Renaissance and Baroque music. His works are still performed today.

Toccata from L’Orfeo. Claudio Monteverdi Favola in musica. Reprint of the First Edition of the core, 1609, via Wikimedia Commons

30 THE HISTORY OF OPERA 1689 Henry Purcell’s (1659-1695) simple and elegant , Dido and Aeneas, premiered at Josias Priest’s boarding school BAROQUE for girls in London.

1637 1712 The first public opera house, Teatro San George Frederic Handel (1685-1759), Cassiano, was built in Venice, Italy. a German-born composer, moved to London, where he found immense success writing intricate and highly 1673 ornamented Italian opera seria (serious Jean Baptiste Lully (1632-1687) an opera). Ornamentation refers to Italian-born composer, brought opera to stylized, fast-moving notes, usually the French court, creating a unique style, improvised by the singer to make a tragédie en musique, that better suited musical line more interesting and to the French language. Blurring the lines showcase their vocal talent. between recitative and aria, he created fast-paced dramas to suit the tastes of French aristocrats.

Dido and Aeneas, 1747, Pompeo Batoni, via Wikimedia Commons

THE HISTORY OF OPERA 31 1805 Ludwig van Beethoven (1770-1827) although a prolific composer, wrote only one opera, Fidelio. The extremes of musical expression in Beethoven’s music pushed the boundaries in the late Classical period and inspired generations of Romantic composers. Ludwig van Beethoven CLASSICAL (1770- 1827)

1750s A reform movement, led by Christoph Gluck (1714-1787), rejected the flashy, ornamented style of the Baroque in favor of simple, refined music to enhance the drama.

1767 (1756-1791) wrote his first opera at age 11, beginning his 25-year opera career. Mozart mastered, then innovated in several operatic forms. He wrote opera serias, including , and opera buffas (comedic operas) like Le nozze di Figaro (). He then combined the two genres in , calling it (comedic drama). Mozart also innovated the (German sung play), featuring a spoken dialogue, as in Die Zauberflöte (). Wolfgang Amadeus Mozart (1756- 1791)

32 THE HISTORY OF OPERA 1853 (1813-1901) completed La Traviata, a story of love, loss, and the struggle of average people, in the increasingly popular realistic style of verismo. Verdi enjoyed immense acclaim during his lifetime, while expanding opera to include larger orchestras, extravagant sets and costumes, and more highly ROMANTIC trained voices. THE GOLDEN AGE OF OPERA Giuseppe Verdi

1816 1842 Gioacchino Rossini (1792-1868) Inspired by the risqué popular entertainment composed Il barbiere di Siviglia (The of French vaudeville, Hervé created ), becoming the most firstoperetta , a short comedic musical prodigious opera composer in Italy by age drama with spoken dialogue. Responding 24. He wrote 39 operas in 20 years. A new to popular trends, this new form stood compositional style created by Rossini and in contrast to the increasingly serious his contemporaries, including Gaetano and dramatic works at the grand Parisian Donizetti and Vincenzo Bellini, would, a opera house. Opéra comique as a genre century later, be referred to as was often not comic, rather realistic or (beautiful singing). Bel canto compositions humanistic. , on the contrary, were inspired by the nuanced vocal was exaggerated and melodramatic. capabilities of the human voice and its expressive potential. Composers employed strategic use of register, the push and pull A scene from 19th-century version of tempo (rubato), extremely smooth and of the play The Barber of Seville connected phrases (), and vocal by Pierre Beaumarchais. Its origins in the commedia dell’arte are glides (). shown in this picture which portrays Figaro dressed in the costume and mask of Harlequin. 1884, via Wikimedia Commons

THE HISTORY OF OPERA 33 1896 Giacomo Puccini’s (1858-1924) La bohème captivated audiences with its intensely beautiful music, realism, and raw emotion. Puccini enjoyed 1871 huge acclaim during his lifetime for his works. Influenced by French , English librettist W.S. Gilbert (1836-1911) and composer (1842-1900) began their 25-year partnership, which produced 14 comic including The Pirates of Penzance and The Mikado. Giacomo Puccini Their works inspired the genre of American musical theater.

1865 1874 ’s (1813-1883) Tristan Johann Strauss II, influenced largely by und Isolde was the beginning of musical his father, with whom he shared a name Modernism, pushing the use of traditional and talent, composed . harmony to its extreme. His massively This opera popularized Viennese musical ambitious, lengthy operas, often based traditions, namely the waltz, and shaped in German folklore, sought to synthesize German operetta. music, theater, poetry, and visuals in what he called a Gesamtkunstwerk (total work of art). The most famous of these was an epic four-opera drama, , which took him 26 years to write and was completed in 1874.

Richard Wagner

Mikado theatre poster, Edinburgh, 1885, via Wikimedia Commons

34 THE HISTORY OF OPERA 1896

1922 (1885-1935) composed the first completely atonal opera, , dealing with uncomfortable themes of militarism and social exploitation. Wozzeck is in the style of 12-tone music or Serialism. This new compositional style, developed in by composer Arnold Schoenberg (1874-1951), placed equal importance on each of the 12 pitches in a scale, removing the sense of the 20th CENTURY music being in a particular key.

1911 1927 , “The King of Ragtime,” American musical theater, commonly wrote his only opera, , which referred to as Broadway, was taken was not performed until 1972. The work more seriously after Jerome Kern’s combined the European late-Romantic (1885-1945) Show Boat, words by Oscar operatic style with African American folk Hammerstein, tackled issues of racial songs, spirituals, and dances. The libretto, segregation and the ban on interracial also by Joplin, was written at a time when marriage in Mississippi. literacy among African Americans in the southern United States was rare.

Hammerstein and Kern

Scott Joplin

THE HISTORY OF OPERA 35 1935 American composer (1898-1937), who was influenced by African American music and culture, debuted his opera, , in Boston, MA with an all African American cast of classically trained singers. Porgy and Bess by the New York Harlem Theatre, 2009

1945 1957 British composer (1913- (1918-1990), known 1976) gained international recognition with for synthesizing musical genres, brought his opera . Britten, along with together the best of American musical (1872-1958), was theater, opera, and in West Side one of the first British opera composers to Story—a reimagining of Romeo and Juliet gain fame in nearly 300 years. in a contemporary setting.

Benjamin Britten Leonard Bernstein

36 THE HISTORY OF OPERA 1987 (b. 1947) composed one of the great minimalist operas, , the story of Nixon’s 1972 meeting with Chinese leader Mao Zedong. Musical Minimalism strips music down to its essential elements, usually featuring a great deal of repetition with slight variations.

John Adams

TODAY Still a vibrant, evolving art form, opera attracts contemporary composers such as: Philip Glass (b. 1937), Mark-Anthony Turnage (b. 1960), Jake Heggie (b. 1961), Thomas Adès (b. 1971), and many others. These composers continue to be influenced by present and historical musical forms in creating new operas that explore current issues or reimagine ancient tales.

BLO’s production of Philip Glass’ opera, In the Penal Colony. Photo: T. Charles Erickson

THE HISTORY OF OPERA 37 THE SCIENCE AND ART OF OPERA

38 THE SCIENCE AND ART OF OPERA WHY DO OPERA SINGERS SOUND LIKE THAT?

Opera is unique among forms of singing in that singers are trained to be able to sing without amplification, in large theaters, over an entire orchestra, and still be heard and understood! This is what sets the art form of opera apart from similar forms such as musical theater. To become a professional opera singer, it takes years of intense physical training and constant practice— not unlike that of a ballet dancer—to stay in shape. Additionally, while ballet dancers can dance through pain and illness, poor health, especially respiratory issues and even allergies, can be severely debilitating for a professional opera singer. Let’s peek into some of So Young Park as Queen of the Night Photo: Eric Antoniou the science of this art form.

THE SCIENCE AND ART OF OPERA 39 How the Voice Works

Singing requires different parts of the body to work together: the lungs, the vocal cords, the vocal tract, and the articulators (lips, teeth, and tongue). The lungs create a flow of air over the vocal cords, which vibrate. That vibration is amplified by the vocal tract and broken up into words by consonants produced by the articulators.

Any good singer will tell you that good breath support is essential to BREATH produce quality sound. Breath is like the gas that goes into your car. Without it, nothing runs. In order to sing long phrases of music with clarity and volume, opera singers access their full lung capacity by keeping their torso elongated and releasing the lower abdomen and diaphragm muscles, which allows air to enter into the lower lobes of the lungs. This is why we associate a certain posture with opera singers. In the past, many operas were staged with singers standing in one place to deliver an entire aria or scene, with minimal activity. Modern productions, however, often demand a much greater range of movement and agility onstage, requiring performers to be physically fit, and disproving the stereotype of the “fat lady sings.”

If you run your fingers along your throat you will feel a little lump VIBRATION just underneath your chin. That is your “Adam’s Apple,” and right behind it, housed in the larynx (voice-box), are your vocal cords. When air from the lungs crosses over the vocal cords, it creates an area of low pressure (Google The Bernoulli Effect), which brings the cords together and makes them vibrate. This vibration produces a buzz. The vocal cords can be lengthened or shortened by muscles in the larynx, or by increasing the speed of airflow. This change in the length and thickness of the vocal cords is what allows singers to create different pitches. Higher pitches require long, thin cords, while low pitches require short, thick ones. Professional singers take great pains to protect the delicate anatomy of their vocal cords with hydration and rest, as the tiniest scarring or inflammation can have noticeable effects on the quality of sound produced.

40 THE SCIENCE AND ART OF OPERA Without the resonating chambers in the head, the buzzing of RESONANCE the vocal cords would sound very unpleasant. The vocal tract, a term encompassing the mouth cavity, and the back of the throat, down to the larynx, shapes the buzzing of the vocal cords like a sculptor shapes clay. Shape your mouth in an ee vowel (as in eat), and then sharply inhale a few times. The cool sensation you feel at the top and back of your mouth is your soft palate. The soft palate can raise or lower to change the shape of the vocal tract. Opera singers always strive to sing with a raised soft palate, which allows for the greatest amplification of the sound produced by the vocal cords. Different vowel sounds are produced by raising or lowering the tongue. Say the vowels: ee, eh, ah, oh, oo and notice how each vowel requires a slightly lower tongue placement. This area of vocal training is particularly difficult because none of the anatomy is visible from the outside!

ARTICULATION The lips, teeth, and tongue are all used to create consonant sounds, which separate words into syllables and make language intelligible. Consonants must be clear and audible for the singer to be understood. Because opera singers do not sing with amplification, their articulation must be particularly good. The challenge lies in producing crisp, rapid consonants without interrupting the connection of the vowels (through the controlled exhale of breath) within the musical phrase.

Perfecting every element of this complex singing system requires years of training, and is essential for the demands of the art form. An opera singer must be capable of singing for hours at a time, over the top of an orchestra, in large opera houses, while acting and delivering an artistic interpretation of the music. It is complete and total engagement of mental, physical, and emotional control and expression. Therefore, think of opera singers as the Olympic athletes of the stage, sit back, and marvel at what the human body is capable of!

41 Different Voice Types Opera singers are cast into roles based on their (the range of notes they can sing comfortably). There are many descriptors that accompany the basic voice types, but here are some of the most common ones: 880HZ

440HZ Tenor The highest male voice, often sing the role of the hero. One of the most famous tenor roles is Roméo in Gounod’s Baritone Roméo et Juliet. Occasionally A middle-range male Bass men have cultivated very voice, can high voices singing in a range

The lowest male voice, range from sweet similar to a mezzo-soprano,

Soprano basses often fall into and mild in tone, to but using their falsetto. Called two main categories: darker dramatic and 220HZ basso buffo, which is the Countertenor, this voice full tones. A famous type is often found in Baroque a comic character who baritone role is often sings in lower music. Countertenors replaced in Verdi’s Rigoletto. castrati in the heroic lead MezzoSoprano laughing-like tones, Baritones who are most and basso profundo, roles of Baroque opera after comfortable in a slightly the practice of castration was which is as low as lower range are known the human voice can deemed unethical.

Contralto as Bass-Baritones, sing! Doctor Bartolo is a hybrid of the two an example of a bass lowest voice types. Tenor role in The Barber of

110HZ Seville by Rossini. Baritone Bass C D E F G A B

42 THE SCIENCE AND ART OF OPERA Each of the voice types (soprano, mezzo-soprano, tenor, baritone, bass) also tends to be sub-characterized by whether it is more Lyric or Dramatic in tone. Lyric singers tend toward smooth lines in their music, sensitively expressed interpretation, and flexible agility. Dramatic singers have qualities that are attributed to darker, fuller, richer note qualities expressed powerfully and robustly with strong emotion. While it’s easiest to understand operatic voice types through these designations and descriptions, one of the most exciting things about listening to a singer perform is that each individual’s voice is unique, therefore each singer will interpret a role in an opera in a slightly different way.

Soprano The highest female voice. Some sopranos are Mezzo-Soprano designated as Somewhat equivalent to the as they specialize in being Contralto lower female role in able to sing very fast moving Occasionally women a chorus, mezzo-sopranos notes that are very high in have an even lower (mezzo translated as frequency and light in tone, range that overlaps with “middle”) are known for their often referred to as “color the highest male voice. full and expressive qualities. notes.” One of the most This is more While they don’t sing famous coloratura roles is rare and they often frequencies quite as high The Queen of the Night in play male characters, as sopranos, their ranges do Mozart’s The Magic Flute. referred to in opera as overlap, and it is a “darker” trouser roles. tone that sets them apart. One of the most famous mezzo-soprano lead roles is in Bizet’s Carmen.

THE SCIENCE AND ART OF OPERA 43 THE PHYSICS OF OPERA SINGERS

What is it about opera singers that allows them to be heard above the orchestra? It’s not that they are simply singing louder. The qualities of sound have to do with the relationship between the frequency (pitch) of a sound, represented in a unit of measurement called hertz, and its amplitude, measured in decibels, which the ear perceives as loudness. Only artificially produced sounds, however, create a pure frequency and amplitude (these are the only kinds that can break glass). The sound produced by a violin, a drum, a voice, or even smacking your hand on a table, produces a fundamental frequency as well as secondary, tertiary, etc. frequencies known as overtones, or as musicians call them, harmonics.

For instance, the orchestra tunes to a concert “A” pitch before a performance. Concert “A” has a frequency of about 440 hertz, but that is not the only pitch you will hear. Progressively softer pitches above that fundamental pitch are produced in multiples of 440 at 880hz, 1320hz, 1760hz, etc. Each different instrument in the orchestra, because of its shape, construction, and mode in which it produces sound, produces different harmonics. This is what makes a violin, for example, have a different color (or ) from a trumpet. Generally, the harmonics of the instruments in the orchestra fade around 2500hz. Overtones produced by a human voice—whether speaking, yelling, or singing—are referred to as formants.

As the demands of opera stars increased, vocal teachers discovered that by manipulating the empty space within the vocal tract, they could emphasize higher frequencies within the overtone series—frequencies above 2500hz. This technique allowed singers to perform without hurting their vocal chords, as they are not actually singing at a higher fundamental decibel level than the orchestra. Swedish voice scientist, Johann Sundberg, observed

this phenomenon when he recorded the world- Prof. Tecumseh Fitch, evolutionary biologist and cognitive scientist famous tenor Jussi Bjoerling in 1970. His research at the University of Vienna, explains the difference between a fundamental frequency and formant frequency in the human voice. showed multiple peaks in decibel level, with the For an opera singer, the lower two formants (peaks on a graph) strongest frequency (overtone) falling between determine the specific vowel sound. The third formant and above add overtones that are specific to each particular singers’ voice, like 2500 and 3000 hertz. This frequency, known a fingerprint. When two people sing the same note simultaneously, as the singer’s formant, is the “sweet spot” for the high overtones allow your ear to distinguish two voices singers so that we hear their voices soaring over the orchestra into the opera house night after night.

44 THE SCIENCE AND ART OF OPERA A RESONANT PLACE

The final piece of the puzzle in creating the perfect operatic sound is the opera house or theater itself. Designing the perfect acoustical space can be an almost impossible task, one which requires tremendous knowledge of science, engineering, and architecture, as well as an artistic sensibility. The goal of the acoustician is to make sure that everyone in the audience can clearly understand the music being produced onstage, no matter where they are sitting. A perfectly designed opera house or concert hall (for non-amplified sound) functions almost like gigantic musical instrument.

Reverberation is one key aspect in making a singer’s words intelligible or an orchestra’s melody clear. Imagine the sound your voice would make in the shower or a cave. The echo you hear is reverberation caused by the large, hard, smooth surfaces. Too much reverberation (bouncing sound waves) can make words difficult to understand. Resonant vowel sounds overlap as they bounce off of hard surfaces and cover up quieter consonant sounds. In these environments, sound carries a long way but becomes unclear or, as it is sometimes called, wet as if the sound were underwater. Acousticians can mitigate these effects by covering smooth surfaces with textured materials like fabric, perforated metal, or diffusers, which absorb and Boston Opera House – photo by John Wolf disperse sound. These tools, however, must be used carefully, as too much absorption can make a space dry – meaning the sound onstage will not carry at all and the performers may have trouble even hearing themselves as they perform. Imagine singing into a pillow or under a blanket.

The shape of the room itself also contributes to the way the audience perceives the music. Most large performance spaces are shaped like a bell – small where the stage is, and growing larger and more spread out in every dimension as one moves farther

Boston Symphony Hall, opened in 1900, with acoustical design away. This shape helps to create a clear path for by Harvard physicist Wallace Clement Sabine, was the first concert the sound to every seat. In designing concert halls hall to be designed with scientific acoustic principles in mind. Each seat was mathematically designed and placed for maximum or opera houses, big decisions must be made about acoustical perfection. the construction of the building based on acoustical needs. Even with the best planning, the perfect acoustic is not guaranteed, but professionals are constantly learning and adapting new scientific knowledge to enhance the audience’s experience.

THE SCIENCE AND ART OF OPERA 45 NOTES TO PREPARE FOR THE OPERA You will see a full dress rehearsal – an insider’s look into the final moments of preparation before an opera premieres. The singers will be in full costume and makeup, the opera will be fully staged, and a full orchestra will accompany the singers, who may choose to “mark,” or not sing in full voice, in order to save their voices for the performances. A final dress rehearsal is often a complete run-through, but there is a chance that the director or conductor will ask to repeat a scene or section of music. This is the last opportunity that the performers have to rehearse with the orchestra before opening night, and therefore they need this valuable time to work.

The following will help you better enjoy your experience of a night at the opera:

46 NOTES TO PREPARE FOR THE OPERA OPERA CHECKLIST

Arrive on time! Latecomers will be seated only at suitable breaks in the performance and often not until intermission.

Dress in what you are comfortable in so that you may enjoy the performance. For some, that means dressing up in a suit or gown, for others, jeans and a polo shirt fit the bill. Generally “dressy-casual” is what people wear. Live theater is usually a little more formal than a movie theater. Please do not take off your shoes or put your feet on the seat in front of you.

Respect your fellow opera lovers by not leaning forward in your seat so as to block the person’s view behind you, and by turning off (not on vibrate) cell phones and other electronic devices that could make noise during the performance. Lit screens are also very distracting to your neighbors, so please keep your phone out of sight until the house lights come up.

Taking photos or making audio or video recordings is strictly forbidden.

Do not chew gum, eat, drink, or talk while the rehearsal is in session. If you must visit the restroom during the performance, please exit quickly and quietly.

At the very beginning of the opera, the concertmaster of the orchestra will ask the oboist to play the note “A.” You will hear all the other musicians in the orchestra tune their instruments to match the ’s “A.”

After all the instruments have been tuned, the conductor will arrive. Be sure to applaud!

Feel free to applaud or shout Bravo at the end of an aria or chorus piece if you liked it. The end of a piece can be identified by a pause in the music. Singers love an appreciative audience!

It’s OK to laugh when something is funny!

When translating songs and poetry in particular, much can be lost due to a change in rhythm, inflection and rhyme of words. For this reason, opera is usually performed in its original language. In order to help audiences enjoy the music and follow every twist and turn of the plot, English supertitles are projected.

Listen for subtleties in the music. The tempo, volume, and complexity of the music and singing depict the feelings or actions of the characters. Also, notice repeated words or phrases; they are usually significant.

Sit back, relax and let the action on stage pull you in. As an audience member, you are essential to the art form of opera—without you, there is no show!

Have Fun and Enjoy the Opera!

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