HINSON, DANIEL ROSS, DMA Are You Serious? - The University of ...

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Mozart’s and da Ponte’s amalgamation of operatic traditions, and demonstrate why these characters, and thus their operas, defy the rigid classification of either opera buffa or opera seria. In order to accomplish this, the origins, development, and musical-dramatic conventions of these three operatic traditions – opera seria, opera buffa, and Singspiel – must be examined, as well. 3
CHAPTER II OPERATIC ORIGINS The origins of opera seria and opera buffa may be traced to the emergence of through-composed stage works in Florence at the end of the sixteenth century. In the 1570s and 1580s the Camerata, a society of Florentine scholars and poets led by Giovanni Bardi (1534-1612) and Vincenzo Galilei (c. 1520-1591), met and discussed literary, scientific, and artistic matters. Like many others in the era, they were interested in rediscovering and reviving the practices of ancient Greek theatre. A chief concern was the question of how dialogue was declaimed in the ancient theater: namely, was it spoken or sung? The writings of Girolamo Mei (1519-1594), a Florence born musical scholar then living in Rome, greatly influenced members of the Camerata with whom he had correspondence. In his Latin treatise, De modis musicis antiquorum, Mei theorized that ancient Greek tragedies were not spoken, but completely sung throughout. Additionally, Mei believed that Ancient Greek music “always consisted of a single melody, even when many were singing and playing together.” 2 Whereas complex polyphonic madrigals were exceedingly popular musical forms in the sixteenth century, members of the Camerata advocated that texts be sung as a solo vocal line over sparse accompaniment (a style now known as monody). This would allow 2 Claude V. Palisca, Baroque Music, 3rd ed. (Upper Saddle River, NJ: Prentice Hall, 1991), 31. 4
Page 1 and 2: HINSON, DANIEL ROSS, D.M.A. Are You
Page 3 and 4: © 2009 by Daniel Ross Hinson
Page 5 and 6: APPROVAL PAGE This dissertation has
Page 7 and 8: CHAPTER TABLE OF CONTENTS v Page I.
Page 9: oth the serious and comic with elem
Page 13 and 14: of choreographed dancing, music and
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Page 17 and 18: and shorter….” 8 Hence, while m
Page 19 and 20: ease of the vocal requirements allo
Page 21 and 22: himself. 14 Although Mozart decline
Page 23 and 24: esemble venerable commedia dell’a
Page 25 and 26: Deh vieni alla finestra, o mio teso
Page 27 and 28: likely have formalized their usage
Page 29 and 30: Poetically, “Dalla sua pace” fa
Page 31 and 32: a V 7 chord, Mozart is not closing
Page 33 and 34: section. The coloratura decelerates
Page 35 and 36: aria. However, even when his poetic
Page 37 and 38: In spite of Ottavio’s dramatic sh
Page 39 and 40: CHAPTER IV COSÌ FAN TUTTE In Mozar
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Page 43 and 44: Figure 3: Un’aura amorosa (ternar
Page 45 and 46: The next twelve bars (30-41) featur
Page 47 and 48: aura amorosa” and “Dalla sua pa
Page 49 and 50: (Example 6: “Ah! lo veggio” m.
Page 51 and 52: Poetically, the aria is quite tradi
Page 53 and 54: lines in the major mode, expressive
Page 55 and 56: (Example 9: “Tradito, schernito
Page 57 and 58: (Ex. 12 “Un’aura amoroso” m.
Page 59 and 60: If the librettist asks us to use ou
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The very fact that the emphasis cha
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Hughes, Spike. Famous Mozart Operas
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A tronco verse features an accent o
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