The Affections, L’Euridice, and L’Orfeo History of Opera The Affections, L’Euridice, and L’Orfeo

Key Terms Baroque Affections Recitative Aria (ca. 1600) Sinfonia Ritornello Libretto Librettist Strophic Through-composed

Baroque: The term and the Time Period 1600-1750; begins in Florence Baroque: French term from the Portuguese barroco, meaning “misshapen pearl” Exaggerated, in bad taste, unnatural, bizarre Originally a derogative term Nineteenth century-theorists preferred the newer, simpler style Unfavorable opinion of the Baroque Period Opinions changed when critics studied Baroque art, then architecture

What is Baroque Style? There is actually no definite “Baroque Style” because many different styles of music developed over the 150 year time span known as the Baroque. The Baroque is a period: a period of change, a period of innovation. These changes were driven by the desire to create musical drama.

Getting “Affection”-ate If Baroque composers prized music for its dramatic power, what did they hope for this drama to achieve? Move the affections: emotions such as sadness, joy, anger, love, fear, excitement, wonder Thought to be stable states of one’s soul Once set into motion by external stimuli through the senses, conveyed motions to the soul, thus bringing out specific emotions René Descartes, The Passions of the Soul (1645-6)

Charles Le Brun, 1689

Peri’s L’Euridice 1600, Florence Requested for a Medici family wedding Overshadowed by the horse ballet One important musical innovation: Recitative Recitative: speech-like song that is a halfway point between spoken dialogue and sung songs Similar to the style thought to be used for reciting Greek heroic poems Recitative could convey emotion quite effectively Met the demands of dramatic poetry

Recitative from L’Euridice Notice the block chords in the bass and the vocal line moving freely above them. Recitatives featured irregular rhythms meant to mimic natural speech. They did not have a strict tempo: musical speed. Singer could interpret the notes and sing with appropriate emotion.

Other Innovations Sinfonia: generic term used throughout the seventeenth century for an abstract ensemble piece Ritornello: instrumental refrain Used in conjunction with recitative and arias At this time, arias are poetic songs set in a strophic style (But this will be changing in about 20 years) Recitative and Aria are both styles of monody

Why Orpheus and Eurydice? Ultimate testament of music being able to impact the emotions Orpheus + Eurydice Married Eurydice dies on wedding day Orpheus is the most gifted musician around Gains entrance to the Underworld through the power of song Charms Hades with his lyre/singing Saves Eurydice

Monteverdi’s L’Orfeo Claudio Monteverdi (1567-1643) Born in Cremona, Italy Worked as a composer for the Gonzaga family in Mantua, Italy Libretto by Alessandro Striggio Libretto: “little book” poetic text set to music in an opera A librettist writes libretto L’Orfeo premiered in Mantua, Italy in 1607 Opera is on the move! Spreading from Florence to Rome, Mantua, Venice, etc.

L’Orfeo More effective than L’Euridice—why? Monteverdi drew on a wider range of musical styles and genres Used greater musical contrasts to shape music, drama, and express the text This is another important innovation—more next week! Five acts, one aria for Orfeo in each act Chorus closes each act by commenting on the situation Larger, more varied orchestra Arias, recitatives, duets, dances, ensemble madrigals Madrigal: through-composed

L’Orfeo Excerpt Aria: “Vi ricorda o boschi ambrosi” Orfeo singing at his wedding Celebratory Recitative: “Ahi, caso acerbo” Messenger arrives to tell of Euridice’s death by snakebite

Next Week… Prima and Seconda Pratica Aria Arioso Recitative 1620s and beyond