Opera's Evolution: From Recitative to Buffa – A Historical Journey

Understanding Opera's Core Elements and Evolution

The Role of Bass and Melodic Lines

In operatic compositions, the bass voice often follows melodic lines, providing the foundational rhythm and harmony. It partners with melodic instruments, such as the basso continuo (keyboard and cello), to create a rich musical texture.

Recitative: The Spoken Song

Recitative (from the Basque "Errezitatua") is a style of vocal music that imitates the rhythms and inflections of speech. It is commonly used in opera, cantatas, passions, and oratorios to advance the plot and convey dialogue. The bass voice, in particular, often delivers recitative passages, akin to ongoing declamation, sometimes with instrumental support.

Airoso: Embellished Recitative

The Airoso style represents a more decorated form of recitative, adding melodic embellishments that go beyond simple speech-like delivery. It serves as a bridge between pure recitative and the more lyrical aria.

Aria: The Lyrical Expression

An Aria is a self-contained, expressive melody, typically sung by a single voice with orchestral accompaniment. It is characterized by its elaborate decoration and lyrical quality, often allowing characters to reflect on their emotions or situations. In its melodic richness, the aria builds upon the embellishments found in the airoso style.

The Birth of Opera: From Polyphony to Solo Voice

The 16th century marked a pivotal moment in music history with the emergence of opera. Initially, it was challenging to express complex human emotions through the prevailing polyphonic styles. However, during the late 16th and 17th centuries, a significant shift occurred: the solo voice, accompanied by instruments, gained prominence as a powerful vehicle for emotional expression, surpassing the earlier polyphonic choral works.

The Florentine Camerata and Opera's Foundations

Opera is often considered a direct descendant of classical Greek tragedy. Its origins trace back to the late 16th century in Florence, Italy, where a group of artists, intellectuals, and musicians known as the Florentine Camerata experimented with new forms of musical drama. Their efforts laid the groundwork for the operatic style, emphasizing a strong connection between text and music.

Key Principles of the New Operatic Style:

• Recitative: Utilized for narrative and dialogue, often with instrumental accompaniment.
• Aria: Employed for lyrical expression and emotional reflection.
• Basso Continuo: A low voice or instrument (like cello or harpsichord) providing harmonic support through chords (often "encrypted" as figured bass).

Early operas were primarily performed in aristocratic courts for special events, symbolizing social success. However, the art form soon expanded, leading to the establishment of public theaters where musicians performed for a salary, making opera accessible to a wider audience.

Opera Seria: Grandeur and Mythology

Opera Seria (serious opera) dominated the operatic stage for many years, particularly in the Baroque era. It was a spectacle designed for aristocratic audiences, focusing on themes of heroism, mythology, and classical history. Its key characteristics include:

• Overture: An instrumental piece performed at the beginning of the opera.
• Arias and Recitatives: A succession of these forms, with arias being of paramount importance in Baroque opera seria.
• Emotional Expression: Recitative primarily conveyed the plot, while arias were dedicated to expressing deep feelings, allowing the audience to understand the argument through emotional resonance.
• Soloists: Often featured an instrumental soloist entering after the initial singing.
• Limited Chorus: Opera seria typically made minimal use of a chorus.
• Mythological Themes: Plots were almost exclusively drawn from ancient myths and legends.

Notable composers of Opera Seria include George Frideric Handel, Georg Philipp Telemann, and Alessandro Scarlatti.

Opera Buffa: Comedy and Social Commentary

As Opera Seria spread across Europe, a new form emerged in the following years: Opera Buffa (comic opera). This style gained immense popularity throughout towns and cities, offering a stark contrast to the seriousness of its predecessor. Opera Buffa often satirized the abuses and conventions of Opera Seria, presenting a more lighthearted and often ridiculous equivalent.

Characterized by its cheerful and bourgeois nature, Opera Buffa shifted focus from aristocratic and mythological themes to those of the middle class, often criticizing societal norms. Its significant features include:

• Spontaneity: Emphasized natural, lively performances.
• Local Language: Utilized vernacular languages, making it more accessible to the general public.
• Vocal Range: Frequently featured soprano and bass voices.
• Limited Resources: Typically involved fewer characters and a smaller orchestra compared to Opera Seria.

A crucial work in the development of comic opera is Giovanni Battista Pergolesi's La serva padrona ("The Servant Mistress").