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Duchy of

Mantua

Grand Duchy of

Florence

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Gonzaga Family, Dukes of Mantua

Mantuan Ducal Palace (1639)

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Opera spreads from its Florentine origins to the court of Mantua,

which has strong political and artistic ties to Florence.
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Claudio Monteverdi (1567-1643)

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Claudio Monteverdi
(1567-1643)




the first “great” opera,
Considered the composer of

L’Orfeo (1607)
Defines the Baroque notion of the “Two Practices”

Ideas of affect based in the theories of Plato and Aristotle

Extreme affects in music are expressed in use of

dissonance, especially unprepared dissonances
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Baroque Theater, Cesky Krumlov, Czech Republic

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Monteverdi’s music is characterized by the Seconda Prattica


dictum,

Prima le parole, poi la musica.

(“First the words, then the music”)

Music follows the text,

especially when the music breaks “the rules”
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Libretto: Alessandro STRIGGIO



(based on L’Euridice

of Rinuccini)



Written for

Accademia degli Invaghiti



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Prologue

with

5 Acts



Striggio puts story into a

Classical 5-Act structure

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Prologue



Act

I

Act II

Act III

Act IV

Act V



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Prologue


of Music)

(Apparition

Act I:

Arcadia
(Wedding)



Act II: Arcadia

(Death of Euridice)

Act III: Hades

(Crossing Over)

Act IV: Hades

(The Bargain, and the Loss of Euridice)

Act V: Arcadia

(Deus ex Machina and Apotheosis of Orfeo)



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Monteverdi
imposes

MUSICAL structure on libretto

with modal organization

and use of forms



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Toccata and Prologue



(Overture and Apparition of Music)

Act I:

Arcadia
(Wedding)



Act II: Arcadia

(Death of Euridice)

Act III: Hades

(Crossing Over)

Act IV: Hades

(The Bargain, and the Loss of Euridice)

Act V: Arcadia

(Deus ex Machina and Apotheosis of Orfeo)

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Large Orchestra


for affect

timbre used













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Large Orchestra


for affect

timbre used

Toccata

[Overture]








Written in
C, mutes
transpose
pitch up to
Toccata
D

[Overture]

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Ritornelli

Sinfonie and


Used as structuring devices



Prologue structured as

Strophes

Introduced, punctuated and concluded

with Ritornelli

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Ritornello



Strophe 1

Ritornello

Strophe 2

Ritornello

etc...

Ritornelli

Strophes

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First and

Last
Ritornelli

Intervening
Ritornelli

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Recitative
(Monody)





Strophic songs

Madrigals

Sung Dance Music

Instrumental Dance Music

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Orfeo:



“Vi ricordi o boschi

ombrosi”

Aria [Strophic Canzonetta]



A canzonetta (‘little song’) is a type of

popular strophic song using dance rhythms



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Pastore:



“Mira, deh
mira Orfeo”

Messagiera:

“Ahi, caso acerbo”

Orfeo:

“Tu sei morta”

Recitative Scene





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Chorus



“Ahi, caso

acerbo”

Madrigal





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Orfeo:



“Possente

Spirto”

Strophic Aria





1
Possente spirto e formidabil nume,
Mighty spirit and powerful god,
senza cui far passaggio a l’altra riva
alma da corpo sciolta in van presume,

Without whom the souls freed from their bodies
Hope in vain to reach the other bank.

2
non vi’io no, che poi di vita è priva
mia cara sposa, il cor non è più meco,


I am not alive, no, not after the death of
My beloved wife, my heart is no longer with me.

3

e senza cor com’esser può ch'io viva?

A lei volt’ho il cammin per l’aër cieco,

And without a heart how can I be alive?

To her I have turned my path through the dark air,
a l’inferno non già, ch’ovunque stassi Not towards Hell, for wherever

4

tanta bellezza il paradiso ha seco.

Orfeo, son io che d’Euridice i passi


There is so much beauty, it must be Paradise.

I am Orpheus, who follows the steps of Eurydice
seguo per queste tenebrose arene, Through the shadowy plains,
ove già mai per uom mortal non vassi.
To which no mortal man can go.

5
O de le luci mie luci serene;
O serene light of my eyes,
s’un vostro sguardo può tornarmi in vita, only one glance from you can return life to me,
ahi, chi nega il conforto a le mie pene?
Ah, who can deny me comfort in my torment?

6
Sol tu, nobile dio, puoi darmi aita,
Only you, noble god, can help me,
né temer déi che sopra un’aurea cetra Fear not, for it is only the sweet strings of a
sol di corde soavi armo le dita Golden lyre I use as a weapon against
contra cui rigida alma invan s'impetra.
The stern souls to whom it is vain to implore.

SINFONIA

1
Possente spirto e formidabil nume,


senza cui far passaggio a l’altra riva STROPHE 1, with Violin Duo Obbligato

alma da corpo sciolta in van presume,



RITORNELLO (Violins)

2
non vi’io no, che poi di vita è priva




mia cara sposa, il cor non è più meco, STROPHE 2, with Cornetti Duo Obbligato

e senza cor com’esser può ch'io viva?


RITORNELLO (Cornetti)

3
A lei volt’ho il cammin per l’aër cieco,

a l’inferno non già, ch’ovunque stassi



STROPHE 3, with Double Harp Obbligato

tanta bellezza il paradiso ha seco.

RITORNELLO (Harp)

4
Orfeo, son io che d’Euridice i passi


seguo per queste tenebrose arene, STROPHE 4, with String Quartet Obbligato

ove già mai per uom mortal non vassi.


O de le luci mie luci serene;


s’un vostro sguardo può tornarmi in vita, Breaks off into Recitative

ahi, chi nega il conforto a le mie pene?

5
Sol tu, nobile dio, puoi darmi aita,


né temer déi che sopra un’aurea cetra STROPHE 5, with String Accompaniment

sol di corde soavi armo le dita
contra cui rigida alma invan s'impetra.

Basso Continuo






“Written” vocal part

Basso Continuo






“Written” vocal part

Basso Continuo
Ornamented vocal part