Orpheus, the son of the god Apollo and the Muse Calliope, a demigod with the power to play intensely emotive and beautiful music, has been a wide source of inspiration for many composers, librettists and writers through the ages. In this comparison, Orpheus serves as a paradigm in the construction of Opera, specifically from the time of Monteverdi, and how the art form has changed dramatically from then until the time of Glück. Orchestration, musical structure, and evolution of the characteristics of opera will be discussed, while focusing on one prominent piece from each opera that will be directly compared. The argument of the success of each composer with regards to fulfilling their aims in the art form, despite having highly revered and criticized works, will be analyzed through the representation of the recitative “Possente Spirto” from Monteverdi’s Orfeo, and the aria “Che faro senza Eurydice” from Glück’s Orfeo ed Eurydice.
The Atlanta Opera Guide (2009: 12) explains that the myth of Orpheus begins with him marrying his a nymph named lover, Eurydice, and soon after she was killed by a fatal snake bite. Distraught, Orpheus went to the underworld and by singing the saddest songs and playing beautiful music on his lyre, Hades and Persephone, Gods of the underworld, allowed him entry to the underworld to find Euridyce, on the condition that he does not look at her until they have left the underworld. Orpheus glanced at Eurydice, in an attempt to console her, and to make sure Hades was not deceiving him, and she was kept in the Underworld forever. Orpheus begged for a second chance, which was denied him, and in his grief played some of the saddest music. Thracian maidens, who had tried to seduce him and failed, became so disgust...
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...e faro senza Eurydice” and throughout his opera, in which he focuses more on simple beauty in the melodic vocal line, and a clear relationship between recitatives and arias in the structure of his opera.
Having enjoyed and investigated both operas it can be stated that between the time of Monteverdi and Glück, the innovations of Opera is obvious. The growth and development of opera in the timespan of 150 years between the earlier Baroque era to the time of the opera reform gives way to the characteristics of each different time. The two operas are model examples of how one facet in the development of music throughout the ages can change, highlighting the continuous evolution of music. The myth of Orfeo has a strong correlation with the concept of opera in general – making a lasting impression on a wide range of audiences, and ultimately displaying the power of music.
The first composition, "Miserere Mei, Deus", was produced by Gregorio Allegri in 1638. I learned this, as I read along with the well-thought-out program that was given. As we, the audience, looked up to the vocalists, we were entranced by the consuming sound. The room filled with a vibrant melody, in which the harmonization and tone color was spectacular. The emotion conveyed throughout the room was one of absorption and delight. During this piece, the sopranos hit such high notes, that I was astounded. Being a person who participates in concert choir, I understand the level of commitment and talent it takes to reach those notes and stay in tune. This ...
This semester, in comparing works of visual art and opera and particularly between works of the same time period, many parallels emerge. But beyond the scope of individual time periods (e.g., Renaissance, Romanticism, Modern), there are parallels that transcend the scope of time entirely. Individuals of varied cultures and periods in history seem to be invariably fascinated by the idea of an archetypal character whom they can adapt and reinterpret according to the terms of their own zeitgeist and with whom they can identify. A salient example is the Orpheus figure, who hails from the myths of antiquity and has been remade and adapted in operas by composers including Monteverdi, Schütz, Lully, Fux, Telemann, Rameau, Gluck, Haydn, Offenbach, Debussy (in an unfinished project), Milhaud, Birtwistle, and Philip Glass—and that is really only the tip of the iceberg! We see Oprheus depicted as well in paintings by Gennari in the 17th century and by Redon in the 19th century, Corot (1861), dell’Abbate, and Rubens. I could similarly enumerate artists, writers, or composers who have famously depicted any of the figures we have studied this far: the Norse figures held so dear by Wagner, Saint Sebastian...
In the dedication of Henry Purcell’s opera, Dioclesian, to the Duke of Somerset, he declared, "As Poetry is the harmony of Words, so Music is that of Notes; and as Poetry is a rise above Prose and Oratory, so is Music the exaltation of Poetry. Both of them may excel apart, but sure they are most excellent when they are joined, because nothing is then wanting to either of their perfections: for thus they appear like wit and beauty in the same person." Henry Purcell was a prolific English composer of Baroque opera, church music, cantatas, instrumental works, and more. Not only did he have a vast understanding of music and composition, but he also understood the obligation to form a connection between the music and the text. Purcell’s compositional ability is demonstrated in his opera Dido and Aeneas, which contains common Baroque characteristics that define his style. Even though he used distinct “Purcell-isms” in Dido and Aeneas, there is still a definite connection to the structure of Venus and Adonis by John Blow.
In order to fully encapsulate Leonardo’s conquest of the almighty heavens it would only be fitting to have the text set to a full orchestra accompanied by a SATB choir. This is the only combination of instrumentation and vocals that will fully capture the piece’s dramatic story (save a Wagnarian music drama). A full orchestra is a glorious medium that can be used to accommodate the full range of emotions embodied in the poem because of the breadth of orchestral timbre. In parallel with the orchestra, a four-person choir is ideal for the lyrical expression of the poem due to the wide range of notes that can be sung by the soprano, the bass and everyone in between. The parts of the poem sung by the full choir would be done in an imitative polyphony texture utilizing malismas on the repeated line “Leonardo, Leonardo, viene á volare” to accentuate the fact that this line is a “siren-song” sung by “the very air itself.” However, the majority of the text would be sung by the tenor to give the piece a story telling quality, with the rest of the choir chiming in for the Italian parts. This will serve to emphasize the contrast between English and Italian that Sylvestri creates in his poem. It seems appropriate to have the orchestra and choir perform a through-composed setting with a change in music for each st...
One of the most interesting challenges in operatic composition , is composing for all the specific characters. A composer has to distinguish between characters through his music. Jan can’t sound like Fran , and Dan can’t sound like Stan. Each character must have his or her own traits. Mozart’s opera , Don Giovanni , provides us with many different characters to compare and contrast. One scene in particular lends itself to the comparison of Don Giovanni , Leporello , and The Commendator. Scene fifteen of Act two, places all three characters in close interaction with each other , making it easy to compare and find out how Mozart and his Librettist Lorenzo da Ponte brought them all to life.
Music is a very powerful tool that people use throughout life. One of its most important attributes is how it allows people to show their emotion. History is abundant with different myths and legends about such music. The legend of Orpheus and Eurydice is one that strives to show the emotion of the music and melodies performed by a man who is separated from his lover by different worlds. Both Orpheus and Eurydice by Czeslaw Milosz, and Orpheus and Eurydice by John Godfrey Saxe, are great examples of separate depictions that show different emotions from Orpheus's music. Both of these poems show how powerful and compelling music can be, while still keeping the author's originality by showing the emotions in different ways. It may be that music, while having many forms, almost always has the ability to express emotions in a way that affects everyone.
In one of the more recent «lecturae» Giambattista Salinari (1969, 311 and 313f) finds that this canto is marked by a high degree of lyricism, considering the progression of the three generic ingredients of the whole poem, namely the descriptive (or epic), the dramatic, and the lyric. He also stresses here the particularly conspicuous presence of what he calls the three types of «contrappunto» in which Dante excels, namely the «horizontal» (when contrasting episodes are juxtaposed for the sake of variation and emphasis), the «vertical» (when over several characters the same situation or theme is developed through rising tonalities), and finally the «stylistic» (when in the same episode the epic or narrative element is expressed through elegiac description, the dramatic through dialogue, and the lyric through monologue). This is, in short exposition, an interesting analytic point that concerns a striking yet little noticed feature of Dante's method of composition, and which this writer has attempted to define and analyze under the term of «dialectic composition».
In the story of Orpheus and Eurydice, the two get married but Eurydice quickly perishes. Overcome with grief Orpheus convinces Hades to let him bring back Eurydice to the world of the living. He agrees but on one condition; Eurydice has to walk behind Orpheus and he cannot look back to see if she's following. Orpheus agrees, but when the couple are just about to leave Erebus, Orpheus looks back to see his lover. With a final "Farewell" Eurydice
Countless dozens of Ph.D. theses must be written about Mozart's The Magic Flute, and yet it is so lively with elements of fantasy and free-flying imagination that it is often the first opera to which children are taken. It has a plot of such complexity that it takes several viewings for all but the most studious opera buffs to sort out the characters and follow the ins and outs of the multilevel story. At the same time, it has so much easily accessible charm and so many glorious Mozart tunes that even the novice will be captivated. There is a large cast of characters including the priest Sarastro (a very serious, proselytizing basso), the Queen of the Night (a mean, angry, scheming coloratura), and her daughter, the beautiful and courageous Pamina. There is the handsome hero, Tamino, on the quintessential road trip, and his cohort in misadventure, the bird seller, Papageno.
Cepheus was married to Cassiopeia, which made her the queen of Æthiopia, and they had a beautiful daughter named Andromeda. Cassiopeia was a vain queen and said things that angered the gods. Cassiopeia went on and on about how she gorgeous she was and how Andromeda was more beautiful than the sea nymphs. This
The story of Orpheus and Eurydice is one that has been passed down through generations for thousands of years. Almost every generation has heard a rendition of how Orpheus and Eurydice fall in love with one another and are eventually parted by death. I say rendition because this myth is passed on by word of mouth, which in return causes the story to change depending on the story teller. This may also have a great deal to do with the different interpretation people form about the story. Black Orpheus, directed by Marcel Camus in 1959, is an interpretation or modern rendition of the Greek myth, Orpheus and Eurydice. Although this film does not adapt the literal meaning of the Greek myth in every scene, I do believe that many scenes adopt the symbolic nature of the film, particularly the decent to the underworld.
The time period of Greek theater’s popularity was a very influential time in our world’s history. Without knowing what Greek theater was all about, how can someone expect to truly understand a tragic play and the history it comes with? The history behind the character of Oedipus, in the play Oedipus the King, is very complicated. His intricate past dealing with prophecies, family members, and murder is the main focus of the story. There are many characteristics that complete Aristotle’s definition of a tragic hero; these being the presence of hamartia and peripeteia, a sense of self-awareness, the audience’s pity for the character, and the hero is of noble birth.
... Orpheus thinks that a trick is being played on him and turns around, causing Eurydice to be lost forever. This leads the viewer to believe that Orpheus was not really in the underworld and that this was just a fake journey into a nonexistent underworld. It seems quite odd that anyone can walk down a spiral staircase and be placed at the gates of Hades. This is the main reason the journey into the underworld appears to be a false one.
Opera is a unique genre of spoken word and song accompanied by music. The music takes one through ascending and descending ranges of emotions. Mozart's Don Giovanni is a perfect example of how this genre emits a wide variety of feelings and attitudes. This "dark comedy seems to convey Mozart's feeling that events have both comical and serious dimensions…" (Kerman, 205). The opera, as a whole, is neither exclusively comedic nor entirely tragic.
The Editors of Encyclopædia Britannica. "Orpheus (Greek Mythology)." Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 30 Mar. 2014.