Opera
Gluck and Reform
Christoph Wilibald Gluck (1714-1787)
Gluck and Reform
Christoph Wilibald Gluck (1714-1787)
Composed “reform” operas
◦ The music, ballet, and staging must serve the
overall drama
◦ A reaction to embellishment, spectacle, and
“showy” opera
Gluck and Reform
Christoph Wilibald Gluck (1714-1787)
Composed “reform” operas
◦ The music, ballet, and staging must serve the
overall drama
◦ A reaction to embellishment, spectacle, and
“showy” opera
Orfeo ed Euridice (1762)
Gluck and Reform
CORO CHORUS
Chi mai dell'Erebo Who is this
Fra le caligini, who draws near to us
Sull'orme d'Ercole through the gloom of Erebus
E di Piritoo in the footsteps of Hercules
Conduce il pié? and of Pirithous?
D'orror l'ingombrino May the savage Eumenides
Le fiere Eumenidi, overwhelm him with horror,
E lo spaventino and the howls of Cerberus
Gli urli di Cerbero, terrify him
Se un Dio non è. if he is not a god.
They dance, whirling round
(gli Spettri ripigliano le danze,
Orpheus, to frighten him.
girando intorno ad Orfeo per
spaventarlo)
A fearsome cavernous region beyond the river Cocytus,
darkened from afar by gloomy smoke lit up by flames
which envelops that whole dreaded abode.
ORFEO ORPHEUS
Deh! placatevi con me. Oh be merciful to me,
Furie, Larve, Ombre sdegnose... ye Furies, ye spectres, ye angry
shades!
CORO CHORUS
No... No!
ORFEO ORPHEUS
Vi renda almen pietose May my cruel grief
Il mio barbaro dolor. at least earn your pity!
A fearsome cavernous region beyond the river Cocytus,
darkened from afar by gloomy smoke lit up by flames
which envelops that whole dreaded abode.
Mozart
Combined drama, harmony, melody, and
counterpoint to produce highly unified
operas
Mozart
Combined drama, harmony, melody, and
counterpoint to produce highly unified
operas
Helped establish German national opera
Mozart
Combined drama, harmony, melody, and
counterpoint to produce highly unified
operas
Helped establish German national opera
Le nozze di Figaro
Don Giovanni
Die Zauberflöte (The Magic Flute)
Mozart
Donna Elvira: Donna Elvira:
Chi è là? Who's there?
Don Giovanni: Don Giovanni:
Stelle! che vedo! Good heavens! What's this?
Leporello: Leporello:
(A Parte) (Aside)
O bella! Donna Elvira! Oh wonderful! Donna Elvira!
Donna Elvira: Donna Elvira:
Don Giovanni!... Sei qui, mostro, fellon, Don Giovanni! You're here, you monster,
nido d'ingann! you criminal, you pack of lies!
Leporello: Leporello:
(A Parte) (Aside)
Che titoli cruscanti! Manco male che lo
conosce bene! What becoming titles!
Don Giovanni: It's lucky she knows him well.
Via, cara Donna Elvira, calmate questa Don Giovanni:
collera - sentit - lasciatemi parlar. Come, my dear Donna Elvira, calm yourself.
Donna Elvira: Llsten. Let me speak.
Cosa puoi dire, dopo azion sì nera? In Donna Elvira:
casa mia entri furtivamente. A forza What can you say, after so black a deed?
d'arte, di giuramenti e di lushinghe You sneaked into my house, and by your
arrivi a sedurre il cor mio; m'innamori, artistry, your promises and your sighs
o crudele! Mi dichiari tua sposa, you succeeded in seducing me. I fell in
e poi, mancando della terra e del cielo love, oh cruel one, and you declared me
al santo dritto, con enorme delitto your bride Then, contrary to all the
dopo tre dì da Burgos t'allontani. laws of earth and Heaven, after three
M'abbandoni, mi fuggi, e lasci in preda days you fled Burgos, abandoned me,
al rimorso ed al pianto, per pena forse a and left me a prey to remorse and to
che t'amai cotanto! weeping, perhaps as a punishment for
Leporello: having loved you so much!
(A parte) Leporello:
Pare un libro stampato! (Aside)
She sounds like a book!
Don Giovanni: Don Giovanni:
Oh, in quanto a questo, ebbi le mie Oh, as for that, I had my reasons,
ragioni. È vero? didn't I?
Leporello: Leporello:
È vero, e che ragioni forti! Oh yes, and what good reasons.
Donna Elvira: Donna Elvira:
E quali sono, se non la tua perfidia, And what were they, if not your perfidy,
la leggerezza tua? Ma il giusto cielo your fickleness? But just Heaven wanted
volle ch'io ti trovassi, per far le sue, le me to find you, to carry out its
mie vendette. vengeance, and mine.
Don Giovanni: Don Giovanni:
Eh via, siate più ragionevole! Come now, be more reasonable!
(Mi pone a cimento costei!) (This woman is a nuisance!)
Se non credete a labbro mio, If you don't believe what I say,
credete a questo galantuomo. then believe this gentleman here.
Leporello: Leporello:
(A parte) (Aside)
Salvo il vero. Anything but the truth.
Don Giovanni: Don Giovanni:
Via, dille un poco... Go on, tell her.
Leporello: Leporello:
E cosa devo dirle? And what shall I tell her?
Don Giovanni: Don Giovanni:
Sì, sì, dille pur tutto. Yes, yes, tell her anything.
(He sneaks out without being noticed by
(Parte non visto da Donna Elvira.) Donna Elvira)
Donna Elvira: Donna Elvira:
Ebben, fa presto. All right, but hurry up.
Leporello: Leporello:
Madama - veramente - in questo mondo, Madam - really - in this world,
conciossia cosa quando fosse che il when it happens that a square is
quadro non è tondo… not a circle . . .
Donna Elvira: Donna Elvira:
Sciagurato! Così del mio dolor Wretch! Thus you mock my
giuoco grief?
ti prendi, Ah! Voi - Ah, you-
(Verso Don Giovanni) (Turning to address Don
Giovanni.)
Stelle! L'iniquo fuggì! Misera me! Good Heavens! The villain has
fled!
Dov'è? In qual parte? Alas, where could he be?
nò, mi tradì... Where?
Leporello: Leporello:
Eh! lasciate che vada. Egli non Oh, let him go. He doesn't
merta deserve
che di lui ci pensiate. to be worried over.
Donna Elvira: Donna Elvira:
Il scellerato m'ingannò, mi The wretch tricked me, betrayed
tradi... me . . .
Leporello: Leporello:
Eh! Consolatevi! non siete voi, Calm yourself! You are not, were
non not
foste, e non sarete né la prima, and will not be either the first or
nè the
I'ultima. Guardate: questo non last. Look: this fat little book
picciol is entirely full of the names of
libro è tutto pieno dei nomi di his
sue sweethearts. Each town, each
belle;ogni villa, ogni borgo, ogni district,
paese è testimon di sue each region testifies to his
donnesche affairs
imprese. with women.
Leporello: Leporello:
Madamina, il catalogo è questo My dear lady, this is a list
Delle belle che amò il padron Of the beauties my master has
mio; loved,
un catalogo egli è che ho fatt'io; A list which I have compiled.
Osservate, leggete con me. Observe, read along with me.
In Italia seicento e quaranta; In Italy, six hundred and forty;
In Almagna duecento e In Germany, two hundred and
trentuna; thirty-one;
Cento in Francia, in Turchia A hundred in France; in Turkey,
novantuna; ninety-one;
Ma in Ispagna son già mille e In Spain already one thousand
tre. and three.
V'han fra queste contadine, Among these are peasant girls,
Cameriere, cittadine, Maidservants, city girls,
V'han contesse, baronesse, Countesses, baronesses,
Marchesine, principesse. Marchionesses, princesses,
Leporello: Leporello:
E v'han donne d'ogni grado, Women of every rank,
D'ogni forma, d'ogni età. Every shape, every age.
Nella bionda egli ha l'usanza With blondes it is his habit
Di lodar la gentilezza, To praise their kindness;
Nella bruna la costanza, In brunettes, their faithfulness;
Nella bianca la dolcezza. In the very blond, their
Vuol d'inverno la grassotta, sweetness.
Vuol d'estate la magrotta; In winter he likes fat ones.
È la grande maestosa, In summer he likes thin ones.
La piccina e ognor vezzosa. He calls the tall ones majestic.
Delle vecchie fa conquista The little ones are always
Pel piacer di porle in lista; charming.
Sua passion predominante He seduces the old ones
È la giovin principiante. For the pleasure of adding to the
Non si picca - se sia ricca, list.
Se sia brutta, se sia bella; His greatest favourite
Purché porti la gonnella, Is the young beginner.
Voi sapete quel che fa. It doesn't matter if she's rich,
(Parte.) Ugly or beautiful;
If she wears a petticoat,
You know what he does.
(He exits.)
Donna Elvira: Donna Elvira:
In questa forma dunque mi tradì These are the tricks the villain
il scellerato! has used to betray me;
È questo il premio che quel is this the reward the barbarian
barbaro rende returns for my love?
all'amor mio?
Ah, I must get revenge for my
Ah! Vendicar vogl'io l'ingannato deceived heart: before he
mio cor. Pria ch'ei mi fugga si escapes - I'll seek- I'll go - I
ricorra - si vada – hear only blood revenge
Io sento in petto sol vendetta speaking within me, only fury
parlar, rabbia e dispetto. and hate.
(Parte.) (Exit.)
DON GIOVANNI e LEPORELLO: DON GIOVANNI and LEPORELLO
Che grido è questo mai? A scream, what can have happen'd?
DON GIOVANNI: DON GIOVANNI
Va a veder che cosa è stato. Go and see, go and see, what is the matter.
(Leporello esce.) LEPORELLO
goes, and when off the stage cries out
LEPORELLO:
Ah! Ah!
DON GIOVANNI: DON GIOVANNI
Che grido indiavolato! What ever means this clatter?
Leporello, che cos'è? Leporello art thou mad?
LEPORELLO LEPORELLO
(entra spaventato e chiude l'uscio): Oh, good Sir! For heav'n sake,
Ah, signor, per carità! Not a step do that way take,
Non andate fuor di qua! Leporello returns dismayed, and shuts the
L'uom di sasso, l'uomo bianco, door
Ah padrone! Io gelo, io manco. White and stony, he's behind me,
Se vedeste che figura, Oh good master, I'm fainting, don't mind
se sentiste come fa me,
Ta! Ta! Ta! Ta! If you saw his marble features,
If you heard him nearer draw,
DON GIOVANNI: Ta, ta, ta, ta.
Non capisco niente affatto. DON GIOVANNI
Tu sei matto in verità. I believe thou art demented.
One could scare thee with a straw!
.
(Si batte alla porta.) Knocking heard at the door.
LEPORELLO: LEPORELLO
Ah sentite! Hark! He's coming!
DON GIOVANNI: DON GIOVANNI
Qualcun batte! Some one's knocking
Apri! Open.
LEPORELLO LEPORELLO
(tremando): trembling
Io tremo! I dare not!
DON GIOVANNI: DON GIOVANNI
Apri, dico! Go this instant!
LEPORELLO: LEPORELLO
Ah! Ah!
DON GIOVANNI: DON GIOVANNI
Per togliermi d'intrico Coward, if I would be enlightened,
Ad aprir io stesso andrò. I must go myself and see, I'll go and see.
(Prende il lume e la spada sguainata takes a light and goes to open the door
e va ad aprire.)
LEPORELLO: LEPORELLO
(Non vo' più veder l'amico Oh, to death I sure am frightened,
Pian pianin m'asconderò.) Here I'll hide where none can see.
Leporello hides under the table.
.
LA STATUA: THE COMMANDANT
Don Giovanni, a cenar teco Don Giovanni! Be thee invited,
M'invitasti e son venuto! Here behold me, as thou'st directed.
DON GIOVANNI: DON GIOVANNI
Non l'avrei giammai creduto; Truly I did not expect it,
Ma farò quel che potrò. But anew I'll sup with thee,
Leporello, un altra cena Leporello, serve the table,
Fa che subito si porti! For my guest another cover!
LEPORELLO LEPORELLO
(facendo capolino di sotto alla tavola): puts his head out from under the table
Ah padron! Siam tutti morti. Sir, be still, say no more!
DON GIOVANNI DON GIOVANNI
(tirandolo fuori): Go, directly!
Vanne dico! Leporello rises as if to obey.
LA STATUA THE COMMANDANT
Ferma un po'! No need of that,
Non si pasce di cibo mortale Earthly food he no longer desireth,
chi si pasce di cibo celeste; Who of heavenly food hath partaken,
Altra cure più gravi di queste, Cast away from thee now all such trifling,
Altra brama quaggiù mi guidò! Heed the sentence I hither have brought.
LEPORELLO: LEPORELLO
(La terzana d'avere mi sembra Sure a fit of the ague hath seiz'd me,
E le membra fermar più non so.) Of all motion bereft, I'm distraught!
DON GIOVANNI: DON GIOVANNI
(Parla dunque! Che chiedi! Che vuoi? Well, what would'st thou? Well, I listen.
LA STATUA: THE COMMANDANT
Parlo; ascolta! Più tempo non ho! Silence, and mark me, this hour thou hast
sought.
DON GIOVANNI:
Parla, parla, ascoltandoti sto. DON GIOVANNI
Speak then, tell me, of fear know I nought.
LA STATUA:
Tu m'invitasti a cena, THE COMMANDANT
Il tuo dover or sai. Thou didst thyself invite me,
Rispondimi: verrai For that I must requite thee,
tu a cenar meco? Then answer me, then answer me,
As my guest, when shall I claim thee?
LEPORELLO
(da lontano, sempre tremando): LEPORELLO
Oibò; standing far off, trembling
tempo non ha, scusate. Say no, say no;
He is engag'd, excuse him.
DON GIOVANNI:
A torto di viltate DON GIOVANNI
Tacciato mai sarò. Of fear none shall accuse me,
To none will I succumb!
LA STATUA:
Risolvi! THE COMMANDANT
Determine!
DON GIOVANNI:
Ho già risolto! DON GIOVANNI
I have determined...
LA STATUA: THE COMMANDANT
Verrai? Thou'lt come, then?
LEPORELLO LEPORELLO
(a Don Giovanni): Say that you can't,
Dite di no! that you can't.
DON GIOVANNI: DON GIOVANNI
Ho fermo il cuore in petto: My heart is firm within me,
Non ho timor: verrò! I have no fear, I'll come.
LA STATUA: THE COMMANDANT
Dammi la mano in pegno! Give me thy hand in token!
DON GIOVANNI DON GIOVANNI
Eccola! Ohimé! Take it then. Ah, me!
LA STATUA: THE COMMANDANT
Cos'hai? What is't?
DON GIOVANNI: DON GIOVANNI
Che gelo è questo mai? What deadly chill is this!
LA STATUA: THE COMMANDANT
Pentiti, cangia vita Turn thee, ere heav'n hath doom'd thee,
È l'ultimo momento! There's time yet for repentance.
DON GIOVANNI DON GIOVANNI
(vuol sciogliersi, ma invano): vainly tries to free himself
No, no, ch'io non mi pento, For me there's no repentance,
Vanne lontan da me! Vanish thou from my sight!
LA STATUA: THE COMMANDANT
Pentiti, scellerato! Dread then, the wrath eternal.
DON GIOVANNI: DON GIOVANNI
No, vecchio infatuato! Away, thou spectre infernal!
LA STATUA: THE COMMANDANT
Pentiti! Yes, repent!
DON GIOVANNI: DON GIOVANNI
No! No!
LA STATUA: THE COMMANDANT
Sì! Yes, repent!
DON GIOVANNI: DON GIOVANNI
No! No!
LA STATUA: THE COMMANDANT
Ah! tempo più non v'è! Yes! Now must my soul take flight!
Exit.
Flames appear in all directions, the earth
trembles.
Bel Canto Opera
“Beautiful singing”
Bel Canto Opera
“Beautiful singing”
A style of singing originated in Italy
Bel Canto Opera
“Beautiful singing”
A style of singing originated in Italy
Evenness, flexibility, very legato
Bel Canto Opera
“Beautiful singing”
A style of singing originated in Italy
Evenness, flexibility, very legato
Lighter, “lyric” sound
Bel Canto Opera
“Beautiful singing”
A style of singing originated in Italy
Evenness, flexibility, very legato
Lighter, “lyric” sound
Composers: Rossini, Donizetti, Bellini
Bel Canto Opera
“Beautiful singing”
A style of singing originated in Italy
Evenness, flexibility, very legato
Lighter, “lyric” sound
Composers: Rossini, Donizetti, Bellini
Much ornamentation, many scales and
cadenzas
Bel Canto Opera
“Beautiful singing”
A style of singing originated in Italy
Evenness, flexibility, very legato
Lighter, “lyric” sound
Composers: Rossini, Donizetti, Bellini
Much ornamentation, many scales and
cadenzas
From approximately 1805-1830
Bel Canto Opera
While sleepwalking, Amina prays for Elvino and then
sings her sorrow. She remembers the engagement ring
that he took from her when he believed she was
unfaithful to him.
Giuseppi Verdi (1813-1901)
Composed approximately 30 operas
Giuseppi Verdi (1813-1901)
Composed approximately 30 operas
Many are standards of the repertoire
Giuseppi Verdi (1813-1901)
Composed approximately 30 operas
Many are standards of the repertoire
After composing his first successful opera,
he had a number of personal trials – his
next opera was not well received, and he
vowed to give up music
Giuseppi Verdi (1813-1901)
Composed approximately 30 operas
Many are standards of the repertoire
After composing his first successful opera,
he had a number of personal trials – his
next opera was not well received, and he
vowed to give up music
A member of the management of La Scala
opera house forced a libretto on him – it
became Nabucco, a very successful opera
Giuseppi Verdi (1813-1901)
Composed approximately 30 operas
Many are standards of the repertoire
After composing his first successful opera,
he had a number of personal trials – his
next opera was not well received, and he
vowed to give up music
A member of the management of La Scala
opera house forced a libretto on him – it
became Nabucco, a very successful opera
Verdi became linked with Italian
nationalism
Va, pensiero sull'ali dorate Go, thought, on golden wings
Va, ti posa sui clivi, sui colli, Go, alight on the cliffs, on the hills,
Where there are wafting the warm and
Ove olezzano tepide e molli
gentle
L'aure dolci del suolo natal! Sweet breezes of our native land.
Del Giordano le rive saluta, Greet the Jordan's banks
Di Sione le torri atterrate... The fallen towers of Zion....
O, mia patria sì bella e perduta! Oh, my fatherland—so beautiful and so
lost!
O membranza sì cara e fatal!
Oh, remembrance so dear, and fatal.
Arpa d'or dei fatidici vati, Harp of gold of the prophet bards,
Perchè muta dal salice pendi? Why do you hang silent, from the
Le memorie nel petto raccendi willow?
Ci favella del tempo che fu! Rekindle the memories in our breast
That speak to us of the time that was.
O simile di Solima ai fati O [harp], like Solomon to the fates,
Traggi un suono di crudo lamento Draw a sound of harsh lamentation
O t'ispiri il Signore un concento May the Lord inspire in thee an accord
Che ne infonda al patire virtù. Which might infuse our suffering with
virtù.
Chorus of the Hebrew Slaves
Verdi’s Requiem
When Rossini died in 1868, Verdi
suggested a number of Italian composers
should contribute to a Requiem
Verdi’s Requiem
When Rossini died in 1868, Verdi
suggested a number of Italian composers
should contribute to a Requiem
13 composers completed a Messa per
Rossini in time for the 1-year anniversary,
but it was never performed (until 1988)
Verdi’s Requiem
When Rossini died in 1868, Verdi
suggested a number of Italian composers
should contribute to a Requiem
13 composers completed a Messa per
Rossini in time for the 1-year anniversary,
but it was never performed (until 1988)
Verdi was very upset about this
Verdi’s Requiem
When Rossini died in 1868, Verdi
suggested a number of Italian composers
should contribute to a Requiem
13 composers completed a Messa per
Rossini in time for the 1-year anniversary,
but it was never performed (until 1988)
Verdi was very upset about this
In 1873, Italian writer Manzoni died, and
Verdi resolved to write a Requiem – it was
premiered on the first anniversary
Verdi’s Requiem
Richard Wagner (1813-1883)
Revolutionary German composer,
conductor, and writer
Richard Wagner (1813-1883)
Revolutionary German composer,
conductor, and writer
Became involved in the German
nationalist movement; When an
attempted revolution failed, he went into
exile
Richard Wagner (1813-1883)
Revolutionary German composer,
conductor, and writer
Became involved in the German
nationalist movement; When an
attempted revolution failed, he went into
exile
Wrote essays on opera, aesthetics, and
Jews in music
Richard Wagner (1813-1883)
Revolutionary German composer,
conductor, and writer
Became involved in the German
nationalist movement; When an
attempted revolution failed, he went into
exile
Wrote essays on opera, aesthetics, and
Jews in music
Built his own opera house in Bayreuth
Richard Wagner (1813-1883)
Innovations
Wagner was one of the only opera
composers who wrote his own libretti
Innovations
Wagner was one of the only opera
composers who wrote his own libretti
He advanced opera through his ideal of
Gesamtkunstwerk (“total artwork”) – the
synthesis of all the arts
Innovations
Wagner was one of the only opera
composers who wrote his own libretti
He advanced opera through his ideal of
Gesamtkunstwerk (“total artwork”) – the
synthesis of all the arts
He developed the orchestra pit, as well as
the tradition of dimming the lights during
an opera
Innovations
Wagner was one of the only opera
composers who wrote his own libretti
He advanced opera through his ideal of
Gesamtkunstwerk (“total artwork”) – the
synthesis of all the arts
He developed the orchestra pit, as well as
the tradition of dimming the lights during
an opera
He made extensive use of leitmotifs
Innovations
Wagner was one of the only opera
composers who wrote his own libretti
He advanced opera through his ideal of
Gesamtkunstwerk (“total artwork”) – the
synthesis of all the arts
He developed the orchestra pit, as well as
the tradition of dimming the lights during
an opera
He made extensive use of leitmotifs
He dramatically expanded harmony
Innovations
The “Ring” Cycle
4 epic “music dramas”
The “Ring” Cycle
4 epic “music dramas”
Intended to be seen on 4 consecutive
nights, lasting up to 15 hours
The “Ring” Cycle
4 epic “music dramas”
Intended to be seen on 4 consecutive
nights, lasting up to 15 hours
The shortest opera is around 2 ½ hours;
the longest runs up to 5!
The “Ring” Cycle
4 epic “music dramas”
Intended to be seen on 4 consecutive
nights, lasting up to 15 hours
The shortest opera is around 2 ½ hours;
the longest runs up to 5!
Written for a huge orchestra, with new
instruments – the Wagner tuba, bass
trumpet, and contrabass trombone
The “Ring” Cycle
4 epic “music dramas”
Intended to be seen on 4 consecutive
nights, lasting up to 15 hours
The shortest opera is around 2 ½ hours;
the longest runs up to 5!
Written for a huge orchestra, with new
instruments – the Wagner tuba, bass
trumpet, and contrabass trombone
Story based on Norse and German
mythology
The “Ring” Cycle
Das Rheingold (1854)
Die Walküre (1856)
Siegfried (1871)
Götterdämmerung (1874)
The “Ring” Cycle
Non-”Ring” Operas
Der fliegende Höllander (The Flying
Dutchman), Tannhäuser, Lohengrin
Non-”Ring” Operas
Der fliegende Höllander (The Flying
Dutchman), Tannhäuser, Lohengrin
Die Meistersinger von Nürnberg –
Wagner’s only comedy still performed,
and one of his longest operas
Non-”Ring” Operas
Der fliegende Höllander (The Flying
Dutchman), Tannhäuser, Lohengrin
Die Meistersinger von Nürnberg –
Wagner’s only comedy still performed,
and one of his longest operas
Tristan und Isolde – possibly Wagner’s
greatest single opera
Non-”Ring” Operas
Der fliegende Höllander (The Flying
Dutchman), Tannhäuser, Lohengrin
Die Meistersinger von Nürnberg –
Wagner’s only comedy still performed,
and one of his longest operas
Tristan und Isolde – possibly Wagner’s
greatest single opera
Parsifal – composed for the opening of
Bayreuth in 1876
Non-”Ring” Operas
Giacomo Puccini (1858-1924)
Influenced by both Verdi and Wagner
Giacomo Puccini (1858-1924)
Influenced by both Verdi and Wagner
Some have claimed his operas lacked
“seriousness” in favor of popular appeal
Giacomo Puccini (1858-1924)
Influenced by both Verdi and Wagner
Some have claimed his operas lacked
“seriousness” in favor of popular appeal
He was celebrated for his melodic gift
Giacomo Puccini (1858-1924)
Influenced by both Verdi and Wagner
Some have claimed his operas lacked
“seriousness” in favor of popular appeal
He was celebrated for his melodic gift
With Tosca, Puccini began writing in the
verismo style – the technique of realism
in operas
Giacomo Puccini (1858-1924)
Influenced by both Verdi and Wagner
Some have claimed his operas lacked
“seriousness” in favor of popular appeal
He was celebrated for his melodic gift
With Tosca, Puccini began writing in the
verismo style – the technique of realism
in operas
La Boheme (1896) is one of the most
beloved operas, and most romantic
Giacomo Puccini (1858-1924)
Nessun dorma, nessun dorma No one sleeps, no one sleeps...
...
Tu pure, o Principessa, Even you, o Princess,
Nella tua fredda stanza, In your cold room,
Guardi le stelle Watch the stars,
Che tremano d'amore That tremble with love
E di speranza. And with hope.
Ma il mio mistero è chiuso in But my secret is hidden within
me, me;
Il nome mio nessun saprà, no, My name no one shall know,
no, no, no,
Sulla tua bocca lo dirò On your mouth I will speak it
Quando la luce splenderà, When the light shines,
Ed il mio bacio scioglierà il And my kiss will dissolve the
silenzio silence
Che ti fa mia. That makes you mine.
“Nessun Dorma” - Turandot
Chorus
Il nome suo nessun saprà No one will know his name
E noi dovrem, ahimè, morir. And we must, alas, die.
The Prince
Dilegua, o notte! Vanish, o night!
Tramontate, stelle! Set, stars!
All'alba vincerò! At daybreak, I shall conquer!
“Nessun Dorma” - Turandot
And finally . . .
Carmen (1875)
French opera by George Bizet
Carmen (1875)
French opera by George Bizet
Set in Spain, it is the story of a fiery
Gypsy who causes all sorts of trouble and
heartache
Carmen (1875)
French opera by George Bizet
Set in Spain, it is the story of a fiery
Gypsy who causes all sorts of trouble and
heartache
It was considered a failure, often labeled
“superficial,” and the subject matter was
“immoral”
Carmen (1875)
French opera by George Bizet
Set in Spain, it is the story of a fiery
Gypsy who causes all sorts of trouble and
heartache
It was considered a failure, often labeled
“superficial,” and the subject matter was
“immoral”
Today it is one of the most popular operas
in the world, and much of the music is
very well known
Carmen (1875)
Carmen: Prelude
L'amour est un oiseau rebelle Love is a rebellious bird
que nul ne peut apprivoiser, that nobody can tame,
et c'est bien en vain qu'on and you call him quite in vain
l'appelle,
s'il lui convient de refuser. if it suits him not to come.
Rien n'y fait, menace ou prière, Nothing helps, neither threat
nor prayer.
l'un parle bien, l'autre se tait: One man talks well, the other's
mum;
Et c'est l'autre que je préfère, it's the other one that I prefer.
Il n'a rien dit mais il me plaît. He's silent but I like his looks.
L'amour! L'amour! L'amour! Love! Love! Love! Love!
L'amour!
Habanera
L'amour est enfant de Bohème, Love is a Bohemian child,
il n'a jamais, jamais connu de it has never, ever, known the
loi; law;
si tu ne m'aimes pas, je t'aime: love me not, then I love you;
si je t'aime, prends garde à toi! if I love you, you'd best
(x2) beware! etc.
Habanera
L'oiseau que tu croyais The bird you thought you had
surprendre caught
battit de l'aile et s'envola ... beat its wings and flew away ...
l'amour est loin, tu peux love stays away, you wait and
l'attendre; wait;
tu ne l'attends plus, il est là! when least expected, there it
is!
Tout autour de toi, vite, vite, All around you, swift, so swift,
il vient, s'en va, puis il it comes, it goes, and then
revient... returns ...
tu crois le tenir, il t'évite, you think you hold it fast, it
flees
tu crois l'éviter, il te tient. you think you're free, it holds
L'amour! L'amour! L'amour! you fast.
L'amour! Love! Love! Love! Love!
Habanera
L'amour est enfant de Bohème, Love is a Bohemian child,
il n'a jamais, jamais connu de it has never, ever, known the
loi; law;
si tu ne m'aimes pas, je t'aime: love me not, then I love you;
si je t'aime, prends garde à toi! if I love you, you'd best
(x2) beware! etc.
Habanera