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OperaTALKS:
The Waltz King Takes the StageOperetta vs. Opera vs. Musicals Opera = Costumed and staged play set to music, usually completely sung and accompanied by an orchestra (with or without choruses and dances). It uses a variety of serious and/or comic subjects and is performed by trained classical voices. Operetta = Costumed and staged play set to music, usually interspersed with spoken dialogue and accompanied by an orchestra (usually with choruses and dances). It is based on a light, comic subject and performed by trained classical voices. Musical (or musical comedy) = Costumed and staged play interspersed with songs and instrumental numbers accompanied by an orchestra (usually with choruses and dances). It uses a variety of serious and/or comic subjects and is performed by untrained voices. Dr. Boudreaux talks about operetta having music with a “light touch” versus opera as more dramatic and “…of a different nature.” Let’s examine what this means—light vs. heavy music. Prominent melody (Strauss II long-lined), simple rhythmic accompaniment (little counterpoint), limited harmonic vocabulary, shorter pieces and sections with simple forms and functional non-virtuosic, non-coloristic orchestration. What are the Operas most often performed?
The Composer and His Times Johann Strauss the Younger 1825-1899 born and raised in Vienna. Eldest son of Johann Strauss, the Elder 1804-1849 and his first wife Anna Streim (separated 1842 when son was 17). His two younger brothers are Josef and Eduard and his son, Johann Strauss III, successful conductor of light music. Johann Strauss II studied music secretly until his father left. He then formed a competing dance orchestra until his father died and Johann Strauss II became the undisputed heavyweight (or lightweight) Waltz King. He traveled extensively with his orchestra of about 28 players to Russia, England, the US and most of Europe. Johann Strauss II married three times. He is considered the musical voice of Imperial Vienna, just as his father had been of the old Hapsburg regime. Many people think that the end of the 19th century was the last happy time the Western world has known but others see it as a time of decadence and decay. The popularity of the waltz provides evidence for both views. I’ll return to this later. Strauss’ completed works number over 500. In the 1860s (age 35 to 45) he composed and performed his most famous waltzes including The Beautiful Blue Danube. In 1863 he met Jacques Offenbach (often considered the creator of operetta) in Vienna while the Parisian was preparing a production there. Johann Strauss II wrote 16 operettas and one opera. Only 2 are successful. The Gypsy Baron (Der Zigeunerbaron, 1885) and The Bat (Die Fledermaus, 1874). He came to the US two years later to help us with our centennial celebration in 1776 and put on some “monster” concerts with 1000 musicians in Boston and New York. Admired (and envied) by serious composers and critics (Wagner, his friend Brahms, Richard Strauss [no relation] and Eduard Hanslick). Potpourri The operetta is definitely R-Rated though I expect you’ll find our production to be more G—or at least PG. The infidelities, naughty waltzes and, I’m told, suggestive wordplay in the original German text, all create a gritty subtext to the glitter and the laughs. The excessive consumption of alcohol has always been a popular activity, especially in the party-loving Vienna scene here. It’s not as funny to us today because of mean and dangerous drunks, but we still find humor in the antics of the inebriated. This might also explain why the characters can be fooled by the thin disguises. Remember that Johann Strauss the Younger is the Waltz King. The waltz became the most popular dance of the nineteenth century in the dance halls and the concert halls. It is arguably the most popular ballroom dance today. The waltz comes from an Austrian country dance, the Ländler, that has a moderate three beats to the bar with lots of hopping. It was danced outdoors with heavy shoes. The Viennese waltz was written for polished ballroom floors; thus the faster tempo and gliding motions. In 1826 Englishman Michael Kelly called the waltz “…this fiend of German birth, destitute of grace, delicacy and propriety, a disgusting practice…” In 1812 music historian Charles Burney writes of the waltz that he “could not help reflecting how uneasy an English mother would be to see her daughter so familiarly treated, and still more witness the obliging manner in which the freedom is returned by the female.” The dance was different from many other dances of the time because it was danced by individual couples and seen as an erotic pantomime of lovemaking because of the full frontal and close embrace (Grove’s Dictionary, 5th Edition, 165-167). Don’t be alarmed! You’ll see a lovely woman playing a man—the young and very wealthy Prince Orlofsky. Here is another example of a :trouser role,” with a slight twist since Orlofsky is supposed to be a slightly older man with a mustache. These parts usually represent adolescent men, and to many composers, are better sung by women who seem more realistic than an underdeveloped, inexperienced male singer. To my mind, this could be Orlofsky’s first mustache. Final Thoughts Notice the triple cast production This presents extra challenges for the director, conductor and performers. Special thanks to the Opera Guild and please visit the website often. And always fill out your questionnaire after each performance you attend. I hope you enjoy our production of The Flying Mouse. Director’s Notes (by Dr. Ronald Boudreaux): When one thinks of operetta the name of Johann Strauss usually comes to mind even though many other well known composers have written fine examples of the genre. The reasons for this notoriety can certainly be attributed to the popularity of Die Fledermaus over the years, the plot and, of course, the music. Operetta is a part of the operatic repertoire regularly produced in opera houses all over the world. The main difference between opera and operetta is that operetta contains dialogue, dance and more of a light touch. Opera generally takes on more dramatic situations and the music is of a different nature. The plot of operetta generally shows characters in the pursuit of pleasurable activities and less serious topics. Die Fledermaus was premiered in 1874 in Vienna. It is generally thought that Fledermaus was a failure because it was taken off the stage after only sixteen performances. Fledermaus was removed not because it was a failure but because of a previously booked engagement by another operatic company. Another misconception surrounding Die Fledermaus is that it was composed in only six weeks. The work was sketched out in six weeks but it was a total of six months from the start of the composition to the production premier. This should still be considered an amazing accomplishment. Johann Strauss’s music is considered one of the elements of Die Fledermaus’s success. Johann Strauss is known popularly as the “Waltz King.” This title comes from being the most famous member of a Viennese family that wrote for and directed their own dance orchestras. The fact that Vienna is famous for its costume balls and he was appointed as music director for these events all contributed to his reputation. But certainly his music is what leaves the lasting impression. The same vitality and melodic grace that he infused his famous waltzes with is found in abundance throughout Die Fledermaus. The title of Die Fledermaus is based on an event that takes place years before the opera begins. Die Fledermaus means “the bat,” and refers to a costume that was worn by our hero’s friend years earlier. Our hero Eisenstein, left his drunk friend Dr. Falke on a park bench only to awake the next morning in the costume and have to walk home dressed as a bat. This embarrassing prank prompts the story of the operetta. Die Fledermaus takes place in one evening and the story that unfolds is totally arranged by Dr. Falke. Certainly revenge is a theme that opera can claim but in the hands of Johann Strauss and his librettists, revenge has never been handled in such an amusing way. The character of Dr. Falke could not have set up the evening of disguises, misdirection and “pay-back” any better. One could argue that these events could never happen. One might think that it is impossible that the arranged and elaborate plot would fool anyone. But this is operetta and it is expected and even demanded by devotees of operetta. The combination of the vibrant music, beautiful melodies, the interesting characters and the whirlwind plot makes the story plausible when all is said and done.Mozart and Figaro: What’s All the Fuss About?Thanks and Sources: Ron Boudreaux, Beverly Hay (Types of Soprano Voices Intended in the Da Ponte Operas of Mozart—doctoral document Indiana University, 1988), Alfred Einstein, [from Ostman CD] Kenneth Chalmers (background), Alan Tyson (manuscripts and versions), Stanley Sadie (synopsis), Donald Jay Grout. Born January 27, 1756 Johannes Chrisostomus Wolfgangus Theophilus Mozart Sigismundus Dusty old museum piece or 18th C Desperate Housewives? I. Mozart and the Enlightenment (1650[or 85]—1800) Names as used were in many ways a matter of style in those days. For example, prior to the French revolution, when it was stylish to seem Italian, Ludwig van Beethoven used to sign his first name as "Luigi." Subsequent to the French revolution, when it was hip to seem French, he used "Louis." In the Renaissance, when Italianate musical styles were popluar, Composers of all nationalities used Italian translations of their names, such as the Flemish composer Orlando di Lasso (Roland Delattre) and the English Orlando Gibbons (Roland Gibbons). Also, composers who worked for the church would often Latinize their names. One example is the German late-renaissance composer Michael Praetorius. "Praetorius" is Latin for guard or protector, which, translated into German, gives us his real name, Michael Schultz. Mozart's name was similarly subject to change. His birth record reads Johannes Chrisostomus Wolfgangus Theophilus Mozart. The word theophilus is greek for "God's love," which in German (Mozart's native language), translates to Gottlieb, the name actually used in place of Theophilus throughout Mozart's childhood. In his maturity, he often used Latin translation of God's Love, Amadeus, but he often signed letters with the French Amadé. By the way, actual first names were not commonly used in normal parlance at the time. Johann Sebastian Bach, for instance, went by Sebastian. As was customary at confirmation at the time, Mozart took the name of the person who presented him for confirmation. This was his father's patron, Prince Archbishop Sigismund of Salzburg. So, an understanding of all of Mozart's names could be seen in the following chart.
Johannes and Chrysostom (patron saints) Wolfgang (paternal grandfather); Theophilus (Greek God’s love). Death: Wolfgang Amadeus Mozart Benefit concert in Prague: Wolfgang Gottlieb Mozart. The Play and Background We are all children of the Enlightenment. Logic, Reason and Science. The Scientific Method, modern physics (Newton), modern math (Newton, Leibnitz), modern biology and medicine, modern art (the novel, Shakespeare plays), modern politics (Locke and individual rights). Mozart released from Salzburg [1781]. Mozart joins Freemasons [1784]. Le Nozze… premiered [May 1, 1786]. Constitutional Convention [summer 1787]. French Revolution [July 14, 1789–99] and Kant Critique of Pure Reason. Mozart said he was not attracted to the politics, but the intrigue, of Beaumarchais’ play. Beaumarchais (1732-99) Marriage completed 1778. Not performed until 1784. Da Ponte (court poet and librettist—worked with Salieri and Soler and others) and Commedia dell’ arte Commedia per musica; not opera buffa. Quote Da Ponte. Dangerous opera—life and death. Figaro sets the tone of the entire opera: “Cunning against force.” (“Se voul ballare”). (Hopkins suggests) The Count bows down before the Countess and begs forgiveness. This may be a first in opera. The Music (too much musical richness—some early productions were split into 2 performances) Major issue of all music is predictable (repetition) vs. surprising (contrast). Mozart displays formal intricacy and richness (symphonic). Overture phrases (7+4+6) x 2 + [10+6+8]. Written 6 weeks. Act II Ensemble written in 2 ½ days. Act III Sextet Mozart’s favorite. Mozart’s melody (tuneful), orchestration with emphasized winds. II. Notes on tonight’s (today’s) performance: Director’s prerogatives (1) leave out numbers [Marcellina #24 and Bartolo #25 arias cut] (2) switch Fig and Su to Su and Fig arias (he complains to men about women after he thinks Su is being faithless). Performers paid more than composers. Surprising? Movie actors make more than writers. Singers in Mozart’s day had shorter careers and lives. Many ended at 30 while today that is usually the beginning of vocal maturity. There voices were probably smaller. Pitch lower (as much as ½ step). No competiton with modern, loud, metal strings and instruments. Theater sizes smaller too—Vienna Burgtheater 1,475, Twichell 1,489, La Scala 2,289, Met 3,800. Young singers: Luisa Laschi-Mombelli (early 20s) (Rosina/Countess Almaviva) lyrical but when dressed as Susanna does some patter. Dorothea Sardi Bussani (23) Cherubino not best singer but great figure unreserved acting. Da Ponte didn’t like her. Breeches (trouser/pants) role started in England in 1660 with Restoration comedies. A woman plays a male role (Cherubino). A woman disguised as a man is not a breeches role (Leonore). Act IV who’s who. Do disguises really work? Suspend disbelief Harry Potter, Lord of the Rings? The Shawshank Redemption 1994 "Sull'aria... Che soave zeffiretto " from opera Le nozze di Figaro Remember this is living theater. The Not–So–Secret Ingredients of the La Bohéme StewGiacomo Puccini—Man and Composer 1858–1924 La Bohéme will be 100 next year at this time (Written in 2004) One of the most performed and loved of operas. Today Puccini is considered the successor to Verdi. He was part of a generation known as Giovane Scuola that included Mascagni (Cavalleria Rusticana 1890) and Leoncavallo (I Pagliacci 1892). Puccini was 38 when La Bohéme premiered at the Teatro Regio, Turin, Italy Feb. 1, 1896. It might have been performed at La Scala, Italy’s premiere opera house, were it not for the fact that La Scala’s director at the time refused to perform any works published by Puccini’s publisher, Ricordi. It took 3 years to become established in the repertory. Most of the premieres outside of Italy were in less prestigious theaters. In Paris at ran at the Opéra–Comique, where in 1951, they celebrated 1,000 performances. Many of the most famous voices of the early 20th century became associated with the opera including the famous tenor Enrico Caruso and the famous soprano Nellie Melba (after whom Melba toast is named). Even today Baz Luhrmann, who directed the movie musical Moulin Rouge, mounted a successful run of this opera on Broadway. Another Broadway hit, Rent, is a modernized retelling of La Bohéme with new pop songs instead of Puccini’s music. Background Libretto—fashioned from Henri Merger’s original serialized French novel by Luigi Illica (prose) and Giuseppe Giacosa (verse). (They also did Tosca and Madame Butterfly.) There was also a play. Public domain, Ricordi, and controversy in print with Leoncavallo. Puccini had a strong sense of the theater, and like most composers, treated his librettists with a heavy hand. Not only did he boss them to the point of several resignations, he created scenes himself (such as Musetta’s scene in the Café Momus in Act 2). He also constantly revised his works after he saw repeated productions of them. The rather organized poetic verses of Giacosa were altered so much that the work as it is performed today often doesn’t seem to be in verse at all. Puccini’s meddling proved its value, especially with Madame Butterfly, which failed badly until he made some major revisions. Music—composed in 2 years (1893–95). Puccini strove to stay current of musical trends. There is the influence of Mussorgsky and Ravel in his later operas. We know from his letters that he attended some of the first performances of Richard Strauss’ Salome (1908—praise with reservations) and Stravinsky’s Rite of Spring (1913—ridiculous choreography; noisy music; but some originality and talent). But, one can tell that he is aware of music trends and music history from the opera itself. La Bohéme is cast in the form of a Wagnerian music drama (Tristan… 1865; Der Ring…1853–1874 [1876]; Parsifal 1882)—the story unfolds without the artificial interruptions of number operas, like Mozart’s Marriage of Figaro with its arias and trios separated by recitative and containing repeated words and phrases. But he deviates a little from Wagner’s model by inserting wonderful arias and ensembles that cadence nicely so that audiences may applaud. Notice the arias for Rodolfo and Mimi in the end of Act 1. Also from Wagner comes the rich chromatic harmony from Tristan und Isolde and the Impressionist-like harmony of Parsifal, that made such an impression on the young Claude Debussy (1862–1918). There is also the brilliant writing for the orchestra and use of the leitmotif (or leading motive). A leitmotif is a very short and distinctive melody, rhythm, or harmonic pattern that is associated with something non-musical, like a character or idea. All of the main characters have leitmotifs associated with them. The very beginning notes represent the Bohemians. There is even a leitmotif for the café in Act 2. It contains the realism, or naturalism, of the French Jules Massenet (1842–1912 with Manon in 1884 at the Opéra–Comique) and his teacher Amilcare Ponchielli (La Gioconda 1876) by focusing on the everyday lives of ordinary people. It adds the shocking verismo of Mascagni and Leoncavallo, with its focus on the morally-questionable Bohemians with their disease and poverty However, Puccini casts a lyrical and romantic aura over the proceedings, showing the tender feelings of the characters (even the outrageous Musetta in Act 4). A victim of its own success, it has been criticized from the beginning for musical and theatrical weaknesses. Critics and scholars traditionally are skeptical about the quality and value of any work of art that is widely popular. Puccini was criticized for the apparent lack of interesting characters and plot. He was also criticized for writing music in such a way that would get him poor grades in a college harmony class, yet listen closely to the beginning of Act 3 as the snow falls. The music is magical and you may not find anything amiss. Brief Synopsis and More Highlights Comic and tragic elements held in perfect equilibrium—the quartet that ends act 3 containing the quarrel between Musetta and Marcello and the romantic reaffirmation of Mimi and Rodolfo. Many think Puccini represents the end of the bel canto tradition (Rossini, Donizetti, Bellini through Verdi). To some, it remains a mystery as to what makes one opera endure while another languishes in obscurity. To be sure, luck and historical accidents are involved, but in the end it’s easy to understand. The story and the music must be immediately appealing while it resonates more deeply with repeated performances. It needs to be visually exciting in its costumes, scenery, and stage business. Perhaps most important of all, it has to be fun to sing and must flatter the glory of the human voice. As you are about to see and hear, La Bohéme has it all!
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Thirty minutes before each opera performance, Converse professor