1. Chapter 7 The Early Baroque Period
Opera

2. Key Terms
Opera
Recitative
Aria
Arioso
Chorus
Ground bass

3. Opera Most significant, popular Baroque genre
Started as court entertainment
1st public opera house in Venice (1637)
Ideal vehicle for emotional, theatrical quality of new solo vocal style
Appealed to all tastes with its mix of music, drama, poetry, dance, set design, and machinery (special effects)

4. Recitative
Technique for declaiming the words in a heightened, theatrical manner
Singer echoes what a good actor or orator does in highly emotional speech
For example, to express anger:
High, loud notes delivered rapidly
To express sadness:
Low, soft notes with slow, perhaps halting delivery
Solo voice with continuo accompaniment

5. Aria Italian word for “song”–for solo singer
Vocal part strongly melodic
Consistent, clear rhythm
Accompaniment often for full orchestra
An aria tends to focus on one emotion
Elements of music used methodically to express that emotion
Melodies were often elaborate–written for virtuoso solo singers

6. Recitative vs. Aria Free, speechlike rhythms
Pitches follow patterns of speech
Continuo accompaniment
Prose text (words stated once)
Advances the action (movement)
Dialogue–free interaction
Clear beat, consistent meter
Pitches form melodic patterns and phrases
Orchestral accompaniment
Poetic text (phrases often repeated)
Freezes the action (reflection)
Soliloquy–expresses one emotion

7. Claudio Monteverdi (1567-1643)
The most dominant figure in music c. 1600
“The last great madrigalist and the first great opera composer”
The first great composer publicly attacked for being too radical
At music-loving Mantua court ( )
Wrote Orfeo, opera’s first masterpiece
Master at St. Mark’s, Venice ( )
Wrote Poppea for public opera house

8. Monteverdi, Coronation of Poppea
Startlingly cynical story
Poppea is mistress to Emperor Nero
Their love wins out—
But only after Poppea’s former lover is banished, the Empress is set to sea, and Nero’s trusted adviser is forced to commit suicide
In the end, Poppea is crowned Empress of Rome

9. Coronation of Poppea Act I
Act I begins outside of Poppea’s house
Nero’s guards grumble about standing watch all night while Nero’s having fun
Poppea’s former lover shows up only to discover that Poppea is now with Nero
In Poppea’s bedroom, Poppea and Nero sing a lingering farewell (recitative)
After Nero goes to work, Poppea sings of her hopes and her ambition to become Empress (aria)

10. Coronation of Poppea from Act I, Recitative
Whether recitative or aria, always a vivid, fluid response to the words
Recitative—
Rhythm speeds up and slows down freely, as dictated by the words and the dialogue
Short arioso (songlike) passages support Nero’s attempts to flatter Poppea

11. Coronation of Poppea from Act I, Aria
A kind of victory dance in three sections
Recitative used in a moment of uncertainty
Energetic rhythms depict section 3’s battle

12. Henry Purcell (1659-1695) Greatest English Baroque composer
Member of the Chapel Royal and organist at Westminster Abbey
Wrote sacred, instrumental, & theater music
Strongly influenced by French and Italian music
Wrote the first real English opera, Dido and Aeneas

13. Purcell, Dido and Aeneas
Story from Virgil’s epic poem, the Aeneid
After escaping from Troy and before founding Rome, Aeneas meets and falls in love with Queen Dido of Carthage
Malicious witches (a Shakespearean touch) make Aeneas believe that Jove has ordered him to continue his journey
Furious at his rejection, Dido spurns him
Dido commits suicide in the final scene

14. Dido and Aeneas Act III, final scene (1)
Recitative—
Dark, somber tone as she prepares to die
Mostly minor mode with chromaticism
Aria—
(See next slide)
Chorus—
Madrigal-like lament alternates imitation & homophony, using some word painting

15. Dido and Aeneas Act III, final scene (2)
Aria—
Ground bass aria built over sad, chromatic, descending bass line
Phrases repeated to extend this poignant, emotional tableau

16. Early Baroque Opera Conclusions
The most significant new Baroque genre
The most extravagant genre in the history of early music
Monumental size, lavish sets, mix of arts
Focus on human emotions made it deeply expressive
Rigid schemes (e.g., recitative, aria) used to organize plot and music
Ideal example of extravagance & control