Category Archives: Opera

by | March 19, 2018 · 6:00 am

Arie a voce sola de diversi auttori (Venice, 1656)

Issued by A-R Editions in 2018, Arie a voce sola de diversi auttori (Venice, 1656), a collection of secular monodies for voice and basso continuo, complements the edition of the contemporaneous sacred collection Sacra Corona (Venice, 1656), which A-R published in 2015. It contains short arias by various composers, some of whom had also contributed to Sacra Corona.

As in Sacra Corona, distinct Venetian and non-Venetian groups of composers can be identified within Arie a voce sola, and the printers, compilers, and dedicatees of both anthologies occupied similar social and economic milieus.

Arie a voce sola can be seen both as a continuation of the early seventeenth-century vogue for strophic arias, which were published in quantity in booklets during the first two decades of the century, and as the forerunner of the trend toward shorter operatic arias, observable in Venetian operas a few decades later.

Below, Maurizio Cazzati’s Mi serpe nel petto, one of the arias in the collection.

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by | March 5, 2018 · 6:00 am

Boito’s disastrous premiere

 

The world premiere of Arrigo Boito’s Mefistofele on 5 March 1868 at Teatro alla Scala was a disaster.

On the aesthetic level, the opera’s unconventional melodies, harmonies, allocation of voices, and voice leading were jarring for the puzzled audience.

Even worse, in this work Boito repudiated the era’s emphasis on Italian nationalism and sought to stimulate philosophical thought and analysis. This cultural treason was viewed as a serious offense during the Italian Risorgimento, and Boito was forced to revise the opera; his reputation as a librettist suffered as well.

This according to La prima de Mefistofele e il Risorgimento: Pubblico e riforma del teatro musicale nella Milano postunitaria by Stefano Lucchi, a dissertation accepted by Universität Wien in 2009.

Today is the 150th anniversary of Boito’s disastrous premiere! Of course, now the opera is his best-loved work. Below, Renata Tebaldi sings the celebrated aria L’altra notte in fondo al mare.

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by | February 9, 2018 · 6:00 am

Metastasio and the Olympic Games

Pietro Metastasio’s popular libretto L’Olimpiade publicized and transmitted a particular ideological and historicized conception of the ancient Olympic Games that would ultimately contribute to the rationalization and legitimization of Pierre de Coubertin’s idiosyncratic Olympic ideology, a philosophical religious doctrine that embraced a noble and honorable conception of sport at the same time as it served discrete class, race, and gendered ends.

The hegemony of the contemporary Olympic Games movement is grounded in part on the appropriation of the classicism and Romanticism transmitted in Metastasio’s work. In narrative, music, and production, L’Olimpiad sustained a particular image of the games, an image that nourished Coubertin’s formulation as it paved the way for further musical representations of the Games that to this day lend authority to a musically transmitted, mythologized, and Hellenized past.

This according to “Music as sport history: The special case of Pietro Metastasio’s L’Olimpiade and the story of the Olympic Games” by Jeffrey O. Seagrave, an essay included in Sporting sounds: Relationships between sport and music (Abingdon: Routledge, 2009, pp. 113–27).

The 2018 Winter Olympics opens today! Above, a production of Josef Mysliveček’s setting of Metastasio’s L’Olimpiade; below, excerpts from Pergolesi’s setting.

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by | January 31, 2018 · 6:00 am

Felice Romani’s libretto reforms

Felice Romani revolutionized the Italian opera libretto, creating a clearly contoured melodramma romantico that was suitable for a through-composed setting.

Romani’s libretto for Donizetti’s Anna Bolena produced a virtually through-composed opera, making the meter conform to the dramatic situation and mood. In Act I, all the characters enter immediately after the prima donna, so that in place of the usual introductory aria there is now an ensemble. The entry of the seconda donna now leads as a rule to a concerted piece, the stretta of the pezzo concertato unleashing all the passions of the protagonists.

Act II proceeds similarly, except that its final scene is treated as a composition in its own right: Out of a stretta the concertato emerges, structured as a concert piece.

This according to Felice Romani–Gaetano Donizetti–Anna Bolena. Zur Asthetik politischer Oper in Italien zwischen 1826 und 1831 by Richard Hauser, a dissertation accepted by Albert-Ludwigs-Universität Freiburg in 1980.

Today is Romani’s 230th birthday! Below, Sondra Radvanovsky sings Anna Bolena’s finale.

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by | September 28, 2017 · 6:00 am

Catalogue arias

The catalogue arias of late eighteenth-century Italian opere buffe focus on lists; subjects may include enjoyable activities, foods, things for sale, or types of people (by nationality, social rank, occupation, personal qualities, and so on).

Their progress often involves shorter and shorter syntactic units: Sentences give way to phrases, then to one- or two-word groups, accelerating the rate of accumulated information—the comic frenzy is actually built into the text itself. This textual compression often involves two rhetorical devices: asyndeton (omitting conjunctions) and anaphora (beginning successive lines or phrases with the same word).

This according to “Catalogue arias and the ‘catalogue aria’” by John Platoff, an essay included in Wolfgang Amadé Mozart: Essays on his life and his music (New York: Oxford University Press, 1996, pp. 296–311).

Above, Lorenzo da Ponte, author of the celebrated catalogue aria Madamina, il catalogo è questo, from Mozart’s Don Giovanni; below, Luca Pisaroni does the honors.

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by | September 16, 2017 · 6:00 am

Jahrbuch für Psychoanalyse und Musik

Psychoanalytic studies of the arts have mainly focused on visual art, literature, and film; launched by Psychosozial-Verlag in 2017, Jahrbuch für Psychoanalyse und Musik (ISSN 2367-2498) aims to fill the gap with psychoanalytic explorations of music.

The journal addresses musicians, musicologists, and cultural scientists as well as psychoanalysts and psychotherapists; its interdisciplinary approach illuminates seldom-noted connections between academic fields. The inaugural volume, edited by Sebastian Leikert and Antje Niebuhr, focuses on the unconscious meanings of interrelationships between music and language.

Below, the finale of Wagner’s Tristan und Isolde, a work discussed in the journal’s first issue.

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by | July 24, 2017 · 6:00 am

Schriftenreihe des Archivs der Zeitgenossen

In 2016 Studien-Verlag launched the series Schriftenreihe des Archivs der Zeitgenossen with Mechanismen der Macht: Friedrich Cerha und sein musikdramatisches Werk.

Founded in 2009, the Archiv der Zeitgenossen (archive of contemporaries) is a collection of artists’ estates donated both during their lifetimes and posthumously. Established by the state of Lower Austria, it is housed at the Donau-Universität Krems, which curates it.

The inaugural volume of the series draws on the archive’s Friedrich Cerha collection, which documents Cerha’s life, primarily as composer and conductor, but also as musician, musicologist, scholar of German literature, teacher, private person, and public figure. The archival holdings provide scholars with a unique source for studying Cerha’s musical work, and also contain a wealth of materials on questions regarding cultural politics, reception history, media studies, and musicology.

Below, excerpts from Cerha’s Onkel Präsident, one of the works discussed in the book.

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by | April 4, 2017 · 6:00 am

Richard Wagner, animal lover

In 1879 Richard Wagner joined the growing movement in Germany opposing the cruel medical practices of animal experimentation with an open letter published in the Bayreuther Blätter.

His arguments for the pointlessness of these experiments were original; they followed from his experiences with traditional medicine and his well-developed critique of civilization. His contemporary allies, however, ignored these arguments and simply used the Wagner name.

The open letter led directly to Wagner’s much-discussed essay Religion und Kunst, in which, among other things, he paints a horrific scenario of the unimpeded development of science and technology.

This according to “Richard Wagner als Gegner von Tierversuchen: Ein visionärer Zivilisationskritiker” by Ulrich Tröhler and Joachim Thiery (WagnerSpectrum XI/1 [2015] pp. 73–104). This journal, along with many others, is covered in our new RILM Abstracts of Music Literature with Full Text collection.

Above, the composer with his dog Pohl; below, no horses were annoyed during this performance.

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by | February 22, 2017 · 6:00 am

The February Revolution and the Mariinskij Teatr

mariinskij-teatr

The 1917 February Revolution had an immediate impact on the Mariinskij Teatr Opery i Baleta. The fall of the monarchy plunged the dancers into a state of confusion, and there was an atmosphere of uncertainty about the future of ballet.

Against this background, the well-organized opera artists demanded unconditional power at the theater. Representatives of the ballet company, faced with this attitude from their colleagues, complained to the director of the Imperial theaters and the government commissioner of the former Ministry of Court.

After the details of the conflict leaked into the newspapers, the representatives of the opera troupe officially declared their deep respect for the art of ballet—but the opera artists continued to treat their colleagues as a secondary presence in the theater. One reason for the conflict between the opera and ballet troupes was the group egoism typical for the revolutionary era, when the overly exploited role of the team eventually led to a confrontation with other teams.

This according to “Из истории музыкального театра революционной эпохи: Борьба оперы с балетом” (From the history of musical theater of the revolutionary era: The struggle of opera with ballet) by Petr Nikolaevič Gordeev (Музыковедение 3 [2015] pp. 11–15).

Today is the centennial of the beginning of the February Revolution! Above, the Mariinskij Teatr around the time of the Revolution; below, the Mariinskij stalwart Mariâ Nikolaevna Kuznecova.

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by | February 10, 2017 · 6:00 am

Leontyne Price arrives

 

On 28 January 1961 Langston Hughes wrote to a friend about having heard a black soprano the night before “busting the walls of the Metropolitan wide open.”

It was hyperbole that neared truth. Just days shy of her 34th birthday, Leontyne Price debuted before an audience whose standards and expectations were high; she lived up to them, and surpassed them beyond even her own imagination. At the final chord of Verdi’s Il trovatore the walls of the venerable institution vibrated with one of the most protracted and vociferous ovations in its history—nearly three-quarters of an hour—for the voice that Time magazine described as “like a bright banner unfurling.”

Price’s arrival at the pinnacle of American opera had a dual significance: She was one of the first American-trained singers to establish herself as a truly international star, and she continued, in grand style, the work of Marian Anderson as a trailblazer, barrier-breaker, and door-opener for black performers.

This according to “Leontyne Price: Prima donna assoluta” by Rosalyn M. Story, an essay included in And so I sing: African-American divas of opera and concert (New York: Warner, 1990, pp. 100–14).

Today is Price’s 90th birthday! Below, her Metropolitan Opera debut.

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