Chapter 14 Classical Vocal Music

Classical Era Vocal Music Composers focused more on instrumental than vocal music Haydn’s operas rarely performed Beethoven only composed one opera Mozart’s operas & choral works by Mozart, Haydn, & Beethoven significant

Haydn’s Vocal Music Haydn composed operas for the Esterházy palace, but his operas are nearly forgotten Masses and oratorios considered Haydn’s vocal masterpieces Masses Last six Masses, composed between 1796 and 1802, are crowning achievements Missa in Angustiis also known as the Lord Nelson Mass, Composed to commemorate Lord Nelson’s naval victory over Napoleon Written for SATB chorus, soloists, and small orchestra Oratorios Inspired by Handel’s works. Haydn composed three oratorios The Creation is the best-know and musically depicts creation of the world Written for soloists, chorus, orchestra

Classical Opera Genres Opera seria Italian serious opera Idomeneo, 1781 Opera buffa Italian comic opera Don Giovanni, 1787 Cosi fan tutti (“Thus do they all”), 1790 Singspiel German comic opera with spoken dialogue Die Entführung aus dem Serail (The Abduction from the Seraglio), 1782 Die Zauberflöte (The Magic Flute), 1791

Attending an Opera Classical Era Many operas sung in Italian, some in vernacular Many audience members knew plots prior to attending performance Modern Era Opera houses place English translations in supertitles above stage Audience members can read plots in program provided prior to performance

Division of Operatic Action Large section of an opera Operas often have two or three acts Intermissions often observed between acts Scene Subdivision of an act Usually no intermissions taken between scenes Read more about opera in “The Live Experience: Classical and Romantic Opera Singers” (page 145).

Mozart’s The Marriage of Figaro Opera buffa (comic opera) Written for soloists, chorus, and orchestra Based on French play by Beaumarchais, first produced in 1782 Original plot was controversial – mocked aristocracy Libretto translated by Lorenzo da Ponte Mozart and da Ponte turn it into intricate and amusing story involving a pair of lovers, intrigues between servant and master, discovered identity, and a few unlikely coincidences

The Marriage of Figaro Plot Figaro is engaged to Susanna, but has borrowed money from Marcellina and must repay or marry her Susanna rebukes the count’s romantic advances and the count sides with Marcellina to force Figaro to marry her Figaro’s identity as the kidnapped child of Marcellina and Dr. Bartolo is revealed and thus Figaro does not have to marry Marcellina Susanna and the countess plot to swap identities to trick the count into trying to seduce Susanna again Happy Ending The count falls for the plot and is exposed The countess forgives the count Susanna and Figaro marry Marcellina and Dr. Bartolo marry Cast of Characters Count Almaviva, nobleman, baritone Countess Almaviva, Count’s wife, soprano Susanna, the countess’ maid, soprano Figaro, the count’s servant, bass Marcellina, housekeeper, soprano Bartolo, a doctor from Seville, bass Cherubino, count’s page (soprano singing role of teenage boy) Cherubino is a young man and is the count’s page Role is performed by mezzo soprano because tenor’s voice would not be light enough Known as trouser or pants role in opera

Listening Guide Excerpt Listening Guide: “Non so più cosa con” (“I Don’t Know Who I Am Anymore”) Opera aria Mezzo soprano (Cherubino) with orchestral accompaniment Homophonic texture ABACC-Coda Cherubino falls in love with every woman and is confused about his feelings Text Translation I don’t know who I am or what I am doing, Now I am on fire or now I am freezing, Every woman makes me change color. Every woman makes my heart flutter. Opera aria Mezzo soprano (Cherubino) with orchestral accompaniment Homophonic texture ABACC-Coda form Cherubino falls in love with every woman and is confused about his feelings Listening Guide Excerpt from CD 4, track 2, pp. 147-148

Translation: “Non so più cosa con” (“I Don’t Know Who I Am Anymore”) A Section I don’t know what I am, or what I am doing. Now I am on fire, or now I am freezing. Every woman makes me change color. Every woman makes my heart flutter. B Section When of love there is just a mention I am upset, and my heart beats faster And I find myself talking of love from a need, From a need I can’t explain. C Section I talk of love when walking, I talk of love when dreaming, To the water, to the shadows, to the mountains, To the flowers, to the grass, to the fountains, To the echoes, to the air, to the winds, And the sound of my useless words is carried away with them. Coda And if I don’t have anyone to hear me, I talk of love to myself. Listen to the entire aria:

Listening Guide Excerpt Listening Guide: “Non più andrai” (“No more will you”), from Le Nozze di Figaro (The Marriage of Figaro) Mozart Opera aria Baritone (Figaro) with orchestral accompaniment Homophonic texture ABACA-Coda Figaro tells Cherubino how his life will change when he enters the military Text Translation No more will you, amorous butterfly, Flit around the castle night and day, Upsetting all the pretty girls, Love’s little Narcissus and Adonis. Opera aria Baritone (Figaro) with orchestral accompaniment Homophonic texture ABACA-Coda form Figaro tells Cherubino how his life will change in the military Listening Guide Excerpt from CD 1, track 29, pp. 148-150

A Section B Section No more will you, amorous butterfly, Translation: “Non più andrai” (“No more will you”), from Le Nozze di Figaro (The Marriage of Figaro) Mozart A Section No more will you, amorous butterfly, Flit around the castle night and day, Upsetting all the pretty girls, Love’s little Narcissus and Adonis. B Section No more will you have those fine plumes, That soft and stylish hat, Those fine locks, that striking hair, Those rosy, girl-like cheeks. Listen to the A and B sections of the aria: