Disguise, Deception and the Development of Haydn’s Dramatic Voice in the Comic Operas of 1766-1777 A Dissertation Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Department of Musicology Michael McGrade, Advisor In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy by Erin Walker Jerome August 2011 The signed version of this form is on file in the Graduate School of Arts and Sciences. This dissertation, directed and approved by Erin Walker Jerome’s Committee, has been accepted and approved by the Faculty of Brandeis University in partial fulfillment of the requirements for the degree of: DOCTOR OF PHILOSOPHY Malcolm Watson, Dean Graduate School of Arts and Sciences Dissertation Committee: Michael McGrade, Department of Music Allan Keiler, Department of Music Peter Hoyt, Department of Music, University of South Carolina Copyright by Erin Walker Jerome 2011 Acknowledgments My entire dissertation writing process would not have been possible without the support of a vast network of friends, colleagues, mentors, and family. I might be the official author of this work, but, as my colleagues have often pointed out, writing a dissertation is a team effort. Unfortunately, I do not have the space to single out every person who merits thanks, but there are a few people who must get special mention. First and foremost, I have to express my gratitude to my dissertation advisor, Michael McGrade. He patiently worked with me as I gradually narrowed my topic from “something to do with the influence of Italian comic opera on Classical style” to “something to do with Haydn’s operas” to the finished product. While his close readings of all of my drafts in their various states of completion were certainly beneficial to the shaping of this work, it was our meetings and discussions that turned this dissertation into what it is today. He never hesitated to ask thought-provoking and often seemingly unanswerable questions that in turn made me return to my analyses and re-think my original hunches. This dissertation would not even be half of what it is today without him. Furthermore, I would not be half the scholar I am today without him. Thank you to my other committee members, Professors Peter Hoyt and Allan Keiler. I had the privilege of working with Peter as an undergraduate at Wesleyan University and he was the one who inspired me to pursue a graduate degree in Musicology. Like Michael, Peter never hesitated to ask me impossible questions that iv have also helped shape the way I think about this topic and about eighteenth-century culture in general. Despite his aversion to Haydn’s operas, I am grateful that Professor Keiler was willing to be my second reader. I hope that this dissertation will make him give these works a second chance. Thanks must also go to Professor Eric Chafe for suggesting that I look at Haydn’s operas when I began to flounder with my original topic. Cheryl Nalbach and Mark Kagan also helped ensure that this entire process proceeded as smoothly as possible. While I opted not to pursue an early music topic, Professor Sarah Mead did not make that decision an easy one. She has profoundly changed the way I think about and the way I perform music. Sarah introduced me to the thriving early music world here in the Boston area and I am grateful for all of the performance and teaching opportunities that she has given me. Not only is she a gifted teacher, but she is also a great friend. Lois Widmer of LTS has gone from being my boss to being a close friend and confidant. She has tirelessly advocated for me, opening new employment opportunities and keeping me gainfully employed along the way. Her generosity never ceases to amaze me. Of course my Brandeis and non-Brandeis friends deserve thanks as well. Alex Ludwig and Georgia Luikens helped with the proofreading of the final draft, unearthing all sorts of embarrassing typos. Rob Pearson proved himself capable of sparking infuriatingly challenging musicological debates, being an excellent running partner, a special friend, and a highly skilled procrastination enabler. Michael Park provided wise counsel – both intellectual and technological. Ian Gendreau supplied the positive energy, new music, new experiences, and, most importantly, fun, during the final few months of v dissertation writing. Simon and Clyde worked tirelessly as my editorial assistants. Jill Rogers, Elizabeth Perten, Deidra Garcia, Rachel Cama, Mu-Xuan Lin, Joanna Fuchs, Jacquelyn Sholes, Amanda Gadrow, Laura Shechter, and Amie Stewart have all been there when I needed them. As for my parents, Ginny and Joel Jerome, I do not know where to begin. Little did we know that my first piano lesson at the age of five would lead to a lifelong study of music. They have been my greatest supporters throughout this entire endeavor. Whether I required some tough love, an outlet to vent, last minute proofreading, or financial support, they were there. I certainly could not have finished this degree without them and I hope that they know that. This dissertation is dedicated to three women who I know would have been thrilled to share in this stage of my life: Aurora Stone, Lee Jerome, and Claudia Kowarsky. vi ABSTRACT Disguise, Deception, and the Development of Haydn’s Dramatic Voice in the Comic Operas of 1766-1777 A dissertation presented to the Faculty of the Graduate School of Arts and Sciences of Brandeis University Waltham, Massachusetts By Erin Walker Jerome In this dissertation, I explore the development of Haydn’s dramatic voice by examining moments of self-conscious performance and deception in four operas: La canterina, Lo speziale, L’incontro improvviso, and Il mondo della luna. These moments of deception shine a spotlight on the artifice of the operatic experience, while also illustrating Haydn’s ability to musically represent a character’s development over the course of an opera. My analyses show that the characters who succeed in their acts of deception are those who are the most self-aware, and this conclusion offers a new approach to ideas surrounding eighteenth-century self-perception. They also give us a new appreciation for the subtlety and sophistication of Haydn’s musical characterizations. vii TABLE OF CONTENTS Acknowledgments iv Abstract vii List of Musical Examples ix Introduction 1 Chapter One Farce, Fraud, and Status Anxiety in Haydn’s La canterina 7 Chapter Two Lo speziale: Unmasking the Fool 40 Chapter Three L’incontro improvviso: Deceitful Dervishes, Hungry Servants, and Seria Characters in Disguise 89 Chapter Four Inner Space as Outer Space: The Imaginary Music of the Moon 137 Chapter Five Casting a Fool’s Utopia in Haydn’s Il mondo della luna 173 Conclusion 211 Bibliography 217 viii LIST OF MUSICAL EXAMPLES 1.1a Haydn's "Io sposar" (mm. 31-37) 21! 1.1b Piccinni's "Io sposar" (mm. 3-6) 21! 1.3 Haydn's "Io sposar" (mm. 42-47) 23! 1.4 Haydn's "Io sposar" (mm. 51-53) 24! 1.5 Haydn's "Io sposar" (mm. 77-85) 26! 1.6 La canterina Act I quartet, (mm. 32-39) 28! 1.7a “Non v’è chi mi aiuta” (mm. 11-17) 33! 1.7b “Non v’è chi mi aiuta” (mm. 22-26) 33! 1.8 “Non v’è chi mi aiuta” (mm. 35-39) 34! 1.9 “Non v’è chi mi aiuta” (mm. 61-75) 37! 2.1a “Caro Volpino amabile” (first version, mm. 24-38) 51! 2.1b “Caro Volpino amabile” (second version, mm. 1-18) 52! 2.2a “Caro Volpino amabile” (first version, mm. 39-47) 54! 2.2b "Caro Volpino amabile" (second version, mm. 18-24), Grilletta's suffering 55! 2.3 Lo speziale Act II finale (mm. 8-11) 63! 2.4 Lo speziale Act II finale (mm. 12-20) 64! 2.5 Lo speziale Act II quartet (mm. 40-46) 66! 2.6 “Salamelica, Semprugna cara” (mm. 1-15) 81! 2.7 “Salamelica, Semprugna cara” (mm. 30-37) 83! 3.1 “Castagno, castagna” (mm. 12-28) 109! 3.2 “Castagno, castagna” (mm. 29-36) 111! 3.3 “Noi pariamo Santarelli” (mm. 1-7) 116! 3.4 “Noi pariamo Santarelli” (mm. 19-27) 121! 3.5 “Castagno, castagna” (duet, mm. 66-67 127! 3.6 “Ecco un splendido banchetto” (mm. 6-12) 132! 4.1 Il mondo della luna Act II sinfonia (mm. 8-10) 153! 4.2a Il mondo della luna Act II sinfonia (mm. 1-15) 154! 4.2b Il mondo della luna Number 25 (mm. 1-8) 155! 4.3 “Che mondo amabile” (mm. 1-4) 165! 4.4 “Che mondo amabile” (mm. 41-43) 166! 4.5 “Che mondo amabile” (mm. 43-49) 167! 4.6 “Che mondo amabile” (mm. 51-55) 168! 4.7 “Che mondo amabile” (mm. 56-61) 169! 5.1 “Begli occhi vezzosi” (mm. 66-74) 187! 5.2 “Se lo comanda” (mm. 66-72) 197! 5.3 “Se lo comanda” (mm. 78-82) 199! 5.4 “Se lo comanda” (mm. 115-131) 202 ix ! INTRODUCTION Eighteenth-century opera buffa plots tend to center around acts of deception in which characters assume disguises or particular idiosyncratic behaviors, ranging from the employment of sentimental or seria “damsel in distress” behavior to dressing up as a Turkish emissary in an attempt to get rid of a romantic rival. These acts of deception are almost always motivated by romantic aims. Haydn’s operas are certainly products of their time, but a close study of his Italian comic stage works introduces us to characters who possess a sophisticated sense of interpersonal discourse.