Evolution of the opera
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Opera houses in the 17th century were the bedrock of vocal virtuosity. Ever since the Baroque era, musical drama and vocal display have vied with one another to emerge as the driving force of the opera, observes SULOCHANA PATTABHIRAMAN.
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Venice... where brilliant innovations were made
AT THE end of the 16th century, a new style of music, the style of the early baroque period flourished all over Italy and in most of the European countries. The music in sophisticated churches and courts of northern Italy was rapidly changing and composers began to write motets (short sacred choral compositions), and madrigals (songs with esoteric kinds of word painting with extreme dissonances and rhythmic contrasts). These were used to illustrate the emotional texts in more and more exaggerated fashion for greater effect. At this point of time an adverse reaction to the madrigal became palpably manifest.
In Florence, an influential group of intellectuals calling itself "Cameratta" (meaning associates) fought tooth and nail against the madrigalists' favourite technique of flamboyant lyrical portrayal. Their contention was that this manner of presentation would only dilute and not give adequate space to convey strong emotions. They also argued that sincere instinctive feelings could be interpreted positively only by the individual singer, and not by a group of performers. During this period, a new style of solo singing that combined music and recitation was developed. This, in the natural course of events, led to the opera. This method was introduced in Florence in 1600, and this genre became one of the greatest and most distinctive results of Baroque imagination. Meanwhile in the "Serene Republic" (as Venice was known), brilliant innovative styles were cultivated in many spheres including architecture, painting and music.
Venetian music was colourful with its sonorous full choirs that dislodged polyphony (different vocal sounds by one singer), whole choirs made up of only instruments, and some others comprising both singers and instrumentalists. In this process, the stately decorum of the High Renaissance style was given the cold shoulder, while high-flown extravagant ideals became the order of the day. However in 1600 A.D., there was an opposite tendency as well — music was made more organised and disciplined to enable listeners to have a clear picture of what was happening. This seemed to be an appropriate response to Baroque exaggeration and emotionality.
Baroque, originally a jeweller's term for large pearls of irregular shape, reflected the exhibitionism in the substance of Baroque music. It was significant that a wide range of stylistic features unified the music of this period. Rhythms became more definite, regular and insistent, and a simple rhythm could be heard throughout a piece. The strong rhythmic beats were emphasised by certain instruments as is well displayed in the motets of Giovanni Gabrieli.
The two most important composers of motets were Andrea Gabrieli (1510-1586) and his nephew Giovanni (1555-1612). The basso continuo was performed by bass voices or low instruments such as cellos or bassoons. This form had the double effect of clarifying the harmony and binding the texture of the music. The major/minor system was evolved, the chords became more standardised and the feeling of centrality around the modal tonic grew stronger. Opera or drama presented in music with the characters singing instead of speaking, was the typical art form of the Baroque period.
The opera... perfect medium to convey emotions
An important step was taken in the opening of opera theatres first in Venice and throughout Italy opera was a perfect medium to convey individual emotionalism. The recitative form was used for plot action, dialogue and other situations where it was crucial for words to be employed.
The second form, Aria, had more musical elaboration and coherence, and was employed for converting the notes of a musical score into tableaux of brilliant, furious, sensuous or tragic expression. Opera houses in the 17th century, as they are today, were the bedrock of vocal virtuosity. Ever since the Baroque era, musical drama and vocal display have vied with one another to emerge as the driving force of the opera.
(Acknowledgement LISTEN, 4th edition).
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