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

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

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

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

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

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

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!

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”

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)