operatest2 - 19th century and Shakespeare expressive and...

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19 th century and Shakespeare - expressive and dark, distortion for dramatic effect - musical illogic – forms begin to be manipulated for dramatic effect - start using tests from contemporary composers – used to model Greeks because they were seen as better, now more realistic and in the present - political – social commentary - sublimity – overwhelming expression, lots of emotion - Risorgimento – rebirth, Congress of Vienna in 1815, quest for independence, fall of Rome 1870 - Verdi’s career parallels this rebirth – informs operas to an extent - his early operas interpreted to have revolutionary messages that neither he nor librettist intended - 20 th century tenor voice – Luciano Pavarotti - bel canto singer – Maria Callas – La Traviata Barber of Seville - Rossini - wanted to bring comic opera the same expressive and technical vocal demands as did tragic opera - composed in 3 weeks - opera buffa - “largo al factotum” - “Figaro, Figaro, Figaro, etc.” – patter aria - Figaro is baritone, more dashing figure – status in society has risen - “una voce poco fa” – Rosina, singing of love for Count, aria - “Ah, qual colpo inaspettato!” – between Count, Figaro, and Rosina - “Di si felice innesto” – finale - bel canto: effortless singing, Rossini, Bellini, Donizetti -sounding good more impt than anything - recitatives sound less chatty, take on more lyrical quality
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This note was uploaded on 02/29/2012 for the course MUSIC 101 taught by Professor Chybowski during the Spring '08 term at University of Wisconsin.

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operatest2 - 19th century and Shakespeare expressive and...

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