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Music 128A Opera: Exam Study Guide

Exam: Wednesday, December 16, 911AM !note the later start time, 9

not 8]

"e#ie$ sessi%n: &'ursday, December 1(, 11AM12:)(*M, r%%m 11+

-%me t% t'e re#ie$ sessi%n $it' y%ur .uesti%ns ready/ 0 d% s%me practice 3%r t'e istenin4 .uesti%ns t'at day, but %t'er$ise $%ud i5e t%

run t'e entire sessi%n 3r%m y%ur .uesti%ns and pr%bems

Essays Assi4nment )7 $i be returned at t'e re#ie$ sessi%n, %r %nine

a3ter$ards

Exam OutlineSection 1. Listening )7

0 pay 3%r y%u t$% %r t'ree s'%rt passa4es 3r%m t'e music $e#e studied, 4i#in4 y%u t'e%ri4ina $%rds and a transati%n &'e p%int is n%t t% identi3y $'at %pera it c%mes 3r%m

t'%u4' a 3e$ p%ints $i be a$arded 3%r t'at7, but t% $rite in an in3%rmed $ay ab%ut '%$

t'e music $%r5s, '%$ t'e #%ca me%dies sun4 by t'e c'aracters7 c%n#ey c'aracter anddramatic situati%n, and '%$ t'e stye %3 t'is %peratic excerpt is distincti#e %u s'%ud

 be abe t% %cate eac' excerpt in a time and pace;0taian #s German, 18t' #s 19t' #s 2(t'

century

Section 2. Terms and Definitions 27 as described be%$7

Section . Essa! "uestions <(7 Write t$% s'%rt essays )< paras eac'7, in resp%nset% .uesti%ns based %n t'e t%pics be%$

O#era excer#ts !ou$re res#onsi%le for

all are on bCourses: Files in a special folder marked “exam listening”

&% be 3amiiar $it' t'ese passa4es means n%t t% 5n%$ e#ery $%rd and n%te, but t% 'a#e a

4%%d sense %3 $'at t'e stye and m%%d %3 eac' %ne is and t% be abe t% c%nnect eac'scene=aria $it' its situati%n in t'e %peras p%t and $it' t'e ma>%r c%ncepts $e#e earned

in cass &'e .uesti%ns

M%nte#erdi, Orfeo Mantua !0tay?, 16(+7

• aria 3%r Or3e% @*%ssente spirt%

Bande, Rodelinda C%nd%n, 1+27

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t$% arias 3%r ertarid% t'e castrat% r%e sun4 by Senesin%7

• @D%#e sei amat% bene

• @i#i tirann%

M%Fart, Magic Flute ienna, 1+917• aria 3%r &amin%: @Dies idnis ist beFaubernd sc'n

• aria 3%r t'e Hueen %3 t'e Ii4't: @Der B%e "ac'e Aat 27

• aria 3%r *apa4en%: @Der %4e3Jn4er bin ic' >a Act 17

• *amina: @Ac' ic' 3K's

• 3ina initiati%n scene and entrance int% Sarastr%s tempe, incudin4 t'e

marc' $it' s%% ma4ic7 3ute

D%niFetti, Lucia di Lammermoor  Iapes, 18)7

• aria 3%r Cucia in Act 0, @"e4na#a ne sienFi%

•duet 3%r Cucia L Ed4ard%, end %3 Act 0: a secti%ns s%$ m%#ement:@Sua t%mba c'e rinserra and cabaetta @erann% a te, suaure7

• duet 3%r Cucia L Enric%, be4innin4 %3 Act 2: a secti%ns s%$

m%#ement @S%33ri#a ne piant% and cabaetta @Se tradirmi7

• mad scene

 

3ina aria 3%r Ed4ard%: a secti%ns s%$ m%#ement @ra p%c% a me

ric%#er% and s%$ suicide cabaetta @&u, c'e a Di%, spie4asti ai7

erdi, Macbeth %rence, 18<+7

• duet 3%r Macbet' and Cady Macbet', end %3 Act 0

•  ban.uet scene end %3 Act 00

• appariti%n scene, be4innin4 %3 Act 000

• Cady Macbet's seep$a5in4 aria, Act 0

Wa4ner, Die alk!re ayreut', 18&'7

• %penin4 scene

• %#e duet 3%r Sie4mund and Sie4inde be4innin4 at Sie4munds

@WinterstKrme and 4%in4 %n t'r%u4' Sie4indes repy !@Du bist der

CenF?7

• rKnn'ides scene $it' Sie4mund, end %3 Act 00

• W%tans 3are$e t% rKnn'ide, end %3 Act 000

"ic'ard Strauss, "alome 19(7N Sa%mes %#e s%n4 t% %'n t'e aptist

%'n Adams, #ixon in China: @Ie$s Aria 3%r Iix%n 3r%m Act 0

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Saaria'%, L$%mour de Loin& scene bet$een -Pmence, -%untess %3 &rip%i, and t'e

 pi4rim, be4innin4 %3 Act 2 c%nsists %3 an %penin4 recitati#e, s'%rt duet, and aria 3%r

-Pmence7

(ames, terms, and conce#ts !ou should )no* and %e a%le to *rite a%out

&'e secti%n %3 t'e exam t'at deas $it' terms and de3initi%ns $i be m%re in dept' t'an

simpy pr%#idin4 a de3initi%n %3 eac' $%rd Eac' .uesti%n $i be $%rt' pr%baby7  p%ints, and 0 as5 y%u t% @de3ine and state the significance of” t'e t'in4, as $e as

4i#in4 an exampe %3 $'ere and '%$ it %ccurs &'e emp'asis $i 3a %n sayin4 $'y t'e

t'in4 %r idea is imp%rtant, m%re t'an %n >ust sayin4 $'at it is

%rentine -amerata

Medici $eddin4

Senesin%#erisimiitude

reaism

Emmanue Sc'i5aneder 

&'eater an der Wienreemas%nry

M%n%stat%sSa#at%re -ammaran%

rancesc% Maria *ia#e

S'a5espearerecitati#e

aria

3inae

d%ube aria 3%rm

da cap% ariastr%p'ic aria

Gesamt5unst$er5 

eitm%ti#e

endess me%dyayreut'

antisemitismWa4ner and t'e &'ird "eic'

expressi%nism

at%naityminimaism

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To#ics for #ossi%le essa! "uestions

a "epeated t'emes %r m%ti#es in Lucia di Lammermoor , Macbeth, and Die alk!re e

 prepared t% discuss $'at music is repeated and in $'ic' scenes it cr%ps upN '%$ %n4 ist'e repeated passa4e %r passa4es7 and is it mainy identi3ied $it' a sin4in4 c'aracters %r

$it' t'e %rc'estraN $'at is t'e musica and=%r dramatic meanin4 %r purp%se %3 brin4in4

t'is music bac5Q

 b #%ca %rnamentati%n 3%r Or3e% in @*%ssente spirt%7, in Bande Rodelinda, Hueen %3

t'e Ii4't, and in Cucias mad scene as% Ma%s $i3e in #ixon in China7

%r eac' be abe t% discussa7 t'e dramatic purp%se %3 t'e %rnamentati%n i3 any7N

 b7 $'et'er its >ust a n%rm %3 t'at c%mp%sers stye %r a specia e33ect meant t%

c%mmunicate s%met'in4 ab%ut t'e c'aracter %r t'e dramatic situati%n %r a bit %3

 b%t'7N andc7 '%$ t'e %rnamentati%n mi4't reate t% t'e 4i3ts and pubic pers%na %3 a speci3ic

sin4er !t'is mi4't be speci3ic t% Bande, at east in terms %3 $'at $e#e studiedand paid attenti%n t% t'is semester?

c Musica repetiti%n in %pera "epetiti%n %3 #ari%us 5inds is as basic t% t'e stye %3Bande, D%niFetti, and %'n Adams, and ar4uaby repetiti%n is %ne %3 the crucia t%%s %3

a musica c%mmunicati%n %r eac' %3 t'e c%mp%sers=%peras isted 'ere, be prepared t%

discuss t'e 3%%$in4:

$'at en4t' %3 unit 4ets repeatedQ $'at ar4er 3%rms are created 3r%m t'eserepeatin4 unitsQ $'at is t'e musica e33ect %3 t'e repetiti%nQ $'at is t'e dramatic

e33ectQ

d &'e%ry #s *ractice in t'e 'ist%ry and e#%uti%n %3 %pera W'at $ere t'e 4%as and

'%pes %3 t'e %rentine -amerata, t'e 4r%up %3 pe%pe $'% @in#ented %pera in t'e ate

sixteent' centuryQ B%$ 3%rmati#e $ere t'eir inteectua ideas actuay %n t'e s'ape t'at%pera e#entuay t%%5Q W'at %t'er 3act%rs came int% pay t% s'ape t'e 4enre %3 %peraQ

And $'en Wa4ner came a%n4 in t'e mid nineteent' century, $'at aspects %3 'is t'e%ries

ai4n %r c%ntrast $it' t'%se %3 t'e -amerataQ B%$ muc' d%es t'e music 'e c%mp%sed in

'is %peras actuay seem t% re3ect 'is t'e%ries %3 $'at %pera s'%ud beQ Gi#e an exampe%3 a scene %r secti%n %r e33ect in Wa4ner t'at seems t% 3it $it' 'is t'e%ries and an%t'er

exampe $'ere t'e music seems t% 4% %33 in its %$n directi%n, independent %3 any t'e%ry

e Gender representati%n in %pera Wa4ner $r%te t'is t%'is 3at'erina$ ranF CisFt in

18(:@Ri3 0 $is' t% dem%nstrate t'at music as a $%man7 must necessariy be

impre4nated by a p%et as a man7, t'en 0 must ensure t'at t'is 4%ri%us

$%man is n%t aband%ned t% t'e 3irst passin4 ibertine but t'at s'e is made

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 pre4nant %ny be t'e man $'% yearns 3%r $%man5ind $it' true, irresistibe

%#e

0s t'is attitude t% t'e mascuine and 3eminine principes as t'ey exist in %pera uni.ue t%

Wa4ner, %r can it be percei#ed in %t'er %perasQ %u mi4't $ant t% t'in5 ab%ut t'e

ass%ciati%n bet$een 'i4' #%ices and p%$er='er%ism in Bandes time and t'ec'aracteriFati%n %3 t'e c%%ratura s%pran% in M%Fart and D%niFetti ut ai>a Saaria'%

as% 'as s%met'in4 t% say ab%ut t'is, in 'er %pera L$amour de loin and in 'er $ritin4s

ab%ut %pera, and s% mi4't %'n Adams in #ixon in China

3 W'en and '%$ d%es it matter $'ere an %pera $as c%mp%sed and 3irst per3%rmedQ 0ts

4eneray underst%%d t% be imp%rtant t'at Bandes %peras $ere a $ritten 3%r C%nd%n,

 but $'at $as specia ab%ut C%nd%n as a pace 3%r %peratic creati%n at t'e time 1+2(s and1+)(s7Q B%$ d%es t'e $%rd %3 ienna in t'e ate ei4'teent' century c%%r 'he Magic

 FluteQ B%$ are Wa4ners ater $%r5s i5e Die alk!re di33erent because t'ey $ere

created 3%r a t'eater %3 'is %$n desi4n in a rem%te t%$n in a#ariaQ And $'at $%r5s i5e

 L$%mour de loin and #ixon in China, $'ic' $ere created and 3unded as c%pr%ducti%ns by se#era %pera '%uses in Eur%pe and I%rt' AmericaQ &'in5 t'is t'r%u4' a t'e %peras

$e#e studied, and 'a#e an %pini%n ab%ut $'en t'e city t'e %pera $as $ritten 3%r mattersand $'en it d%esnt and $'y7

4 B%$ 'a#e t'e dynamics %3 p%$er c'an4ed %#er t'e 'ist%ry %3 %peraQ W'% 'ed t'eupper 'and in t'e creati#e pr%cess and t'e re'earsa pr%cess durin4 M%Farts %r

D%niFettis career, and '%$ did t'at c'an4eQ -%nsider t'e reati#e c%ntributi%ns %3

c%mp%ser, ibrettist, sin4ers, sta4e direct%r, and impresari%=t'eater mana4er %r

exampe, c%mpare t'e $ay erdi interacted $it' rancesc% Maria *ia#e in t'e pr%cess %3c%mp%sin4 'is Macbeth t% t'e $ay Saaria'% $%r5ed $it' Amin Ma%u3, *eter Sears,

and Gerard M%rtier 4enera mana4er %3 t'e *aris Opera7 %n L$%mour de loin, %r *eter

Sears c%ntributi%n t% #ixon in China B%$ d%es Wa4ners creati#e practice 3it int% t'ise#%uti%nQ

' B%$ muc' is %pera an insiders art t'at reies %n specia 5n%$ed4e t% be appreciatedQ-an %ne reay en>%y %r understand 'he Magic ute $it'%ut 5n%$in4 a ab%ut

3reemas%nry and its imp%rtance t% M%FartQ 0s it $%rt' istenin4 t% Wa4ner i3 y%u d%nt

rec%4niFe t'e eitm%ti#es, %r e#en 5n%$ $'at a eitm%ti#e isQ E#en in 0taian %pera,

$'ic' is per'aps m%re accessibe, t'eres d%ube aria 3%rm and a t'e %re ab%ut #%icetypes and t'e ac'ie#ements and styes %3 indi#idua sin4ers B%$ necessary is t'is

in3%rmati%n 3%r appreciatin4 %peraQ D% y%u t'in5 %pera s'%ud try t% ma5e itse3 m%re

accessibeQ B%$ mi4't t'at be ac'ie#edQ