The term ‘Opera Seria’ (or serious opera) was used to signify Italian opera of the eighteenth and nineteenth centuries to distinguish the form from comic opera (Opera Buffa). Usually it was on a tragic or heroic subject. The title, however, was seldom applied at the time and manuscript scores and libretti referred to them as ‘Dramme per Musica’
During the first two decades of the century the characteristics of the genre took shape as part of a literary reform that had been started in the 1690’s. The Italian libretto prior to this period were described as ‘undisciplined, irrational and often licentious’.
Establishment of Style.
By the end of the first decade a number of practices had been established. These practices involved the plot, which should be limited to a single, central argument involving no more than eight characters. The entries and exits of the characters were strictly controlled to ensure that the stage was never empty except for set changes and between acts. Concerning the actions, these should take place within a short period of time, preferably twenty four hours, and in locations of close proximity to each other.
Tragic endings, following the rules of verisimilitude and good taste, were rejected. Death, if unavoidable, should be treated with dignity and preferably off stage. Suicides and deaths in battle were, however, tolerated, but never murder. The subjects should be taken from ancient history.
Poets were required to strive to instruct as well as to entertain. The end result was that the libretto was of high literary quality and could be enjoyed as literature.
The Reformed Libretto.
The reform produced libretti with a decrease in the number of arias to less than thirty. These produced operas that were generally comprised of three acts. Ensembles were restricted to one per opera, usually a duet for the principle couple, and a closing ‘coro’’.
The Exit Aria.
By 1710 the ‘exit aria’ had been established as the norm. Arias were placed at the end of a scene, after which the singer would leave the stage. As soon as someone arrived or left the stage a new scene began, act three only ending with all characters on stage.
By the middle of the century the main interest was in the aria and the practice of tailoring roles to suit the individual performer had become common place, the singer now having the power. The libretti were heavily revised and would be reset according to the place of performance or for a particular performer.
Pasticcio.
This practice of revising gave way to the performance of the pastiche (pasticcio). This was a performance, deviating from the original text, with singers who carried their favourite arias from one theatre to the next and integrating them into the performance. In many theatres the pasticcio was used to round off the season as a way for the singers to show off their prowess. In fact, in theatres of modest means these became predominant.
The number of arias was further reduced to about twenty; the principle pair being given four or five each. Duets became virtually the exclusive domain of the principle pair.
Performers.
A hierarchy of performers had developed, where the principle pair were at the top, followed by two further levels. Libretti were often revised to ensure the least group of singers in the hierarchy sang, what has become known as, the ‘sorbet aria’ (Aria di sorbetto) at the beginning of act two where sorbet was served and the noise of spoons on the glasses was said to have obscured the singing.
Meeting both the strict literary requirements and the fixed theatrical conventions presented the librettist with a formidable task. The two who came closest to meeting these ideals were Apostolo Zeno and Pietro Trapassi (better known as Metastasio).
References.
Anthony Hart, Concertini a tre Soprani, e Contralto - Eighteenth Century Arias for Four Voices. –
Unpublished LLCM dissertation, 2010.
Roger Parker, Opera, in The New Grove Dictionary of Music and Musicians, 2nd Edition,
(London, 2001).
Donald Grout, A History of Western Music, 4th Edition (New York,1988)
Anthony Hart - I am a retired Management Consultant, Management Trainer and University lecturer. Born in the UK, I now live in Malta. As a member of ...
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