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© 2007 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 14 Classical Vocal Music “I like an aria to fit a singer as perfectly as a well-tailored suit of clothes.” Wolfgang Amadeus Mozart, in a letter to his father, February 28, 1778
© 2007 The McGraw-Hill Companies, Inc. All rights reserved. Haydn’s Vocal Music Opera was important part of activity at Esterházy palace Empress Maria Theresa said, “if I want to hear a good opera, I go to Esterházy.” Today his operas are all but forgotten Composed twelve Masses; last six, composed between 1796 and 1802 are crowning achievements Missa in Angustiis (Mass in Time of Peril) is also known as the Lord Nelson Mass Composed in 1798 commemorating naval victory over Napoleon Haydn also composed oratorios; best known is The Creation, which depicts creation of the world
© 2007 The McGraw-Hill Companies, Inc. All rights reserved. Classical Opera Greatest opera composer of era was Mozart Opera seria (serious opera) Idomeneo, 1781 Opera buffa (comic opera) Le Nozze di Figaro (“The Marriage of Figaro”), 1786 Don Giovanni, 1787 Cosi fan tutti (“Thus do they all”), 1790 Singspiel (German Opera) Die Entführung aus dem Serail (The Abduction from the Seraglio), 1782 Die Zauberflöte (The Magic Flute), 1791
© 2007 The McGraw-Hill Companies, Inc. All rights reserved. The Marriage of Figaro Based on French play by Beaumarchais, first produced in 1782 Libretto by Lorenzo da Ponte Original plot was controversial – mocked aristocracy 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
© 2007 The McGraw-Hill Companies, Inc. All rights reserved. The Marriago of Figaro Cast of Characters Count Almaviva, Spanish nobleman, baritone Countess Almaviva, his wife, soprano Susanna, the countess’ maid, soprano Figaro, the count’s servant, bass Cherubino, count’s page (soprano singing role of teenage boy) Marcellina, housekeeper, soprano Bartolo, a doctor from Seville, bass Basilio, music teacher, tenor Don Curzio, lawyer, tenor Barbarina, daughter of Antonio, soprano Antonio, the Count’s gardener, Susanna’s uncle, bass Chorus of country people and peasants
© 2007 The McGraw-Hill Companies, Inc. All rights reserved. Listening Guide “Non più andrai” (“No more will you”), from Le Nozze di Figaro (The Marriage of Figaro) Mozart Italian text A - Non più andrai, farfallone amoroso notte e giorno d’intorno girando; delle belle turbando il riposo, Narcisetto, Adocino d’amor. B – Non più avrai questi bei pennacchini, quell cappello egiero e galante, quella chioma, quell’aria brillante, quell vermiglio, donnesco color. Repeat of “A” section
© 2007 The McGraw-Hill Companies, Inc. All rights reserved. Listening Guide: “Non più andrai” (“No more will you”), from Le Nozze di Figaro (The Marriage of Figaro) (cont.) C – Tra guerrieri proffer Baco! gran mustacchi, stretto sacco, schioppo in spalla, sciabla al fianco, coll dritto, muso franco, o un gran casco, un gran turbante, molto onor, poco contante, ed invece del fandango, una Marcia per il fango. Per montange, per valloni, colle nevi e I sollioni, Al concerto di tromboni, di bombarde, di cannone, che le pale in tutti tuoni all’ orecchiofan fischiar. A – repeats Cherubino alla vittoria, alla gloria militar!
© 2007 The McGraw-Hill Companies, Inc. All rights reserved. Listening Guide: “Crudel! Perchè finora” (“Cruel one! Why until now”) from Le Nozze di Figaro (The Marriage of Figaro) Mozart Duet for baritone (Count Almaviva) and soprano (Susanna) Through-composed Listen for many repetitions of “Sì” and “No”
© 2007 The McGraw-Hill Companies, Inc. All rights reserved. Listening Guide: “Crudel! Perchè finora” (“Cruel one! Why until now?”) from Le Nozze di Figaro (The Marriage of Figaro) Mozart Count - Crudel! Perchè finora farmi languir cosi? Susanna - Signor, la donna ognora tempo ha di dir di si. Count -Dunque in giardin verrai? Susanna -Se place a vio, verrò. Count -E non mi mancherai? Susanna -No, non vi mancherò. Count -Mi sent dal contento Pieno del gioia il cor. Susanna -(Scusatemi se mento, voi che intendente amor)
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© and ® 2011 Vista Higher Learning, Inc.4B.1-1 Punto di partenza Italian uses two principal tenses to talk about events in the past: the passato prossimo.
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by Charlotte This is written in the Hebrew Talmud, the book where all of the sayings and preaching of Rabbis are conserved over time. Questo è scritto.
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