MODERN OPERA

Cue (NZERS), Issue 2, 30 June 1944, Page 10

MODERN OPERA

(By

NEW ZEALANDERS generally are now receiving opportunities of attending Grand Opera performances for the first time. A knowledge of the origin of Opera has an important relation to the measure of one’s enjoyment. While many have derived considerable pleasure from the performances, there are on the other hand a few who have been disappointed mainly on this account.

Probably those in the latter class, who expected more than they saw, were interested listeners when at home to broadcast recordings of Grand Opera. It may be assumed, therefore, that subconsciously they had already formed an idea of a story presentation not unlike that of a cinema production. NEVER LENGTHY. •In this, of course, disillusionment followed their attendance at a full stage performance of the Operas, where the plot is never —though often somewhat involved —and where cinema repartee and grandoise scenery are not always possible. Thus, in order to enjoy stage presented opera it is essential to have some knowledge concerning the growth of this type of entertainment which is nationally popular in Italy. Owing to lack of sufficient reference the writer’s memory, particularly with regard to dates, will naturally be the main source of information. However, it is surprising to observe that few people know that Opera was being performed as early as in the 17th century. • ■ . . . • ■ OLD OPERA. Many famous arias sung to-day as concert solos are from old Operas, notably those of Handel (1685-1759), Purcell (1658-1695), Gluck (1714-1787). These arias are in some cases most difficult and obviously vocal art had reached an advanced stage even in those days. Musical history states that probably about the period from

the 14th century to the 16th century — the Renaissance — there were strolling groups of minstrels all over Europe. SOMETHING NEW. These strangers who entertained with songs and dances accompanied by lute or viol were from Italy, often Venetians, who combined good voices with first rate stagecraft. -The ability to entertain is traditionally associated with rather temperamental or impetuous natures. These entertainers later reached even England, and throughout the whole of Western Europe their influence was noticeable. It is assumed that these entertainments were nothing more than an « allround » concert comprising' solos with perhaps a little «play-act-acting » in harmony with some outstanding local event. Probably these solos were what we now know as « topical ditties ». In any case this was something new. Until then, music was fostered by the Church, on account of its importance to the liturgy. Many great composers existed well before 'this period, but their writings were purely liturgical. COMPOSITE WHOLE. As a natural development — is verified by historyentertainments gradually assumed, through the enthusiasm of the players, more of the nature of a composite whole. Probably the various solos formed an integral part of the small operettas and again, gradually, small plots were made upon which to « hang », as it were, the phases of the performance. Stage effects were not

practicable — vide Shakespeare's stage" as late as the 17th century —and everything centred on the singing and acting for, being Italian, the language would not be understood by many. Thus did Opera come into being in Europe. In Italy, the art of singing progressed enormously and often men would travel without supporting company to entertain much in the same manner as today. With the phenomenal growth of vocal art added to the

Italian’s innate love of demonstration and his vivid imagination, the growth of Opera was much more rapid. There being many singers oi first class ability who were keen to outrival others in staggering feats of vocal dexterity, it .was natural that composers also were enthusiastic to a degree to write longer, more difficult and more intricate works for performance. Of course, the fact must not be overlooked that, during this period, owing to possible limitations of stage effects, plots or stories

were necessarily restricted to one or very few « scenes »— they may be termed as such. That is why very early Operas are no more than a series of arias or solos by the performers, joined together by « recitative » passages to produce a composite whole. « RECITATIVO.» ' The word «recitativo» is applied to passages sung on a few notes, carrying a narrative in order to «prepare the way » for the next aria or solo in which the soloist is to act and sing in the character he represents. Examples of this may be found in Handel’s Oratorio, «Messiah». In - fact Oratorio as understood to-day. is somewhat related to early” Opera. During this development the orchestral accompaniment progressed with invention of new instruments, so that, from the one or two humble lutes or viols, the « orchestra » —the word is purely Italiangrew into an important section of the performance. Costumes gradually became more elaborate, but scenery development was slower due to cost and difficulty of transport. There was also a possibility oh many new Operas not proving popular, thus causing wastage of money and materials. Even in modern times the many different costumes and scenic pieces required are a big drain on the financial resources of all but the largest and best equipped Opera houses and companies. LATEST TECHNIQUE. During this development period it was the practice of musicians, singers and other artists from Europe to travel to Italy and study the latest technique of their art. Again is noticeable the great effect Italian Grand Opera had, and was to have, on the music of Europe. / In fact, to this day, all music is published with directions of the performance, etc., printed wholly in Italian—e.g., Andante- Cantabile; Allegro-moderato; Largo; Maestoso; etc., etc. And so there was an enthusias-

tic growth of musical drama or Opera throughout Italy, a growth that was suited to the temperament and lives of Italians, to such a degree that - Grand Opera became a part of their lives. Just as the plots of many of Shakespeare’s plays are known to most people, so Italians knew 'almost every detail of their beloved Grand Opera. DIFFICULT ARIAS. Thus is reached the period of Rossini of « Barber of Seville» and « William Tell » fame. Many soldiers attended a performance of the former Opera which is one of the older works still popular. In this Opera there are * many extremely difficult arias for solos — one, notably, «Largo al Factotum » sung by Figaro—but it somewhat lacks a continuity or series of good musical ■- narrative sections. This is a relic .of the early development. GENIAL BRIGHTNESS. The popularity of this particular Opera is probably due to the genial brightness of its music, light-heartedness, lack of tragedy .and lack of scenic worries. To appreciate the Opera fully, listeners should; bear in mind these details and attention should be focussed morfe upon the individual arias and • prominent orchestral passages than upon the performance from a «musical story» viewpoint. In fact, it is probable that Grand Opera will always be handicapped by awkward continuity passages owing to the different scenes required by these « bridges.» Modern writers often omit some of these links and the audience is informed by programme or otherwise what has taken place in the meantime, thus paving the way for the next scene and its highlights in the form of arias, choruses and even ballets. PROGRESS IN EUROPE. Before concluding this brief summary it may be interesting to recall the progress of events in the rest of Europe during the rosy

period of Italian Opera. In England, composers such as Tallis, Byrd, Arne, and Handel, were busy: But England also saw a religious development and a partsinging growth which has borne fruit to-day in the wonderful choral concerts in English cities. In France Opera developed, but ballet was introduced and of course plots were different in style. DIFFICULT WORKS. French musicians were also enthusiastic instrumentalists and, generally, organ, harpsichord and stately dance music was popular. In Germany, sacred music flourished. Organ and instrumental music was explored very fully vide Pachelbel, Buxtehude, the Bachs, etc.—but later, Wagner put German Opera on its feet’ with his •famous but most difficult new works. It was in Italy, however, 'that Opera as we know it was maintained by various wealthy patrons and Opera companies, becoming almost a part of the general education in music. NOT SIMILAR For the few soldiers who, were possibly disappointed when they attended Grand- . Opera for the first time, they must realise that Opera is not similar to modern cinema entertainment and singers and orchestras have their special solos and highlights allotted to them, in which personal skill and dexterity may be demonstrated at the same time as maintaining the story of the plot. Scenery, general effects, and stage properties, are all a large problem, . and due allowance should be made for this. : GRANDER OPERA. It is to be hoped that Italy maintains her famous tradition and that more composers will appear to exploit further the modern improvements in mechanical and electrical aids towards a smoother ■ running, more continuous, and even Grander Grand Opera. '