1. Chapter 14
Classical Vocal Music

2. 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

3. 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

4. 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

5. 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

6. 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).

7. 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

8. 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

9. 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

10. 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:

11. 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

12. 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: