Opera Glossary

Parts of an Opera
OVERTURE:
An opera overture is a musical introduction to an opera. It serves several purposes:
  1. Set the Mood: The overture often establishes the musical themes and moods that will be explored in the opera. By listening to the overture, the audience gets a taste of the emotional journey they're about to experience.
  2. Prepare the Audience: Historically, opera houses were bustling, noisy places. The overture provided a signal for the audience to settle down and prepare for the start of the opera.
  3. Showcase Composer's Skill: The overture is an opportunity for the composer to demonstrate their compositional prowess. By weaving together various musical themes, they can display their talent in crafting melodies and orchestrations.
  4. Establish Themes: Often, the overture introduces melodic themes that will reappear throughout the opera, giving the audience a hint of significant moments or characters they will encounter.
While overtures are most commonly associated with operas, they can also be found in ballets, oratorios, and other stage works. In the classical period, some symphonies also started with an overture-like first movement.
ARIA:
​An aria is a self-contained piece for solo voice, usually with instrumental accompaniment, that is found in operas, oratorios, and cantatas. Here's a deeper dive into its characteristics:
  1. Expressive Melody: Arias are known for their melodious and expressive qualities. They often showcase the singer's vocal abilities and allow for dramatic interpretations.
  2. Character's Emotions: In the context of an opera, an aria typically represents a moment where a character expresses their emotions, desires, or reflections on a particular situation. It's a window into a character's innermost feelings.
  3. Contrast to Recitatives: Arias are distinct from recitatives, another operatic vocal form. While recitatives move the plot forward and are more speech-like in rhythm and delivery, arias often pause the action, allowing the character and audience to reflect on the story's emotional content.
  4. Popular in Concerts: Many arias, due to their beauty and emotive power, have become popular as standalone pieces and are frequently performed in vocal recitals and concerts.
  5. Variety: There are different types of arias, ranging from the da capo aria (which has a ternary or ABA form) popular during the Baroque era, to more complex structures in later periods.
Arias remain one of the highlights in operatic performances, allowing singers to showcase their technical prowess and emotional depth.
RECITATIVE:
"Recitative" in opera refers to a style of vocal singing that is closer to speech than to song. It's a key component in many operas, especially those from the Baroque, Classical, and early Romantic periods. Here's more about recitative:
  1. Narrative Function: Recitatives are typically used to advance the plot and convey information. They often come between arias or ensemble pieces, setting the stage for the more melodic, expressive sections of the opera.
  2. Musical Characteristics: Unlike arias, which are melodic and rhythmically structured, recitatives are more free-flowing, following the natural rhythm and intonation of speech.
  3. Accompaniment: There are generally two types of recitative based on the accompaniment:
    • Secco ("dry") Recitative: Accompanied only by a keyboard instrument, usually a harpsichord or, in later operas, a piano. The accompaniment is sparse, often just simple chords to support the singer.
    • Accompanied (or "full") Recitative: Uses the orchestra for accompaniment, providing a richer background. This type is generally more dramatic and is used for particularly intense moments in the plot.
  4. Contrast with Aria: While arias allow characters to reflect on their emotions in a more extended, melodic form, recitatives are more immediate and direct, propelling the storyline forward.
In essence, recitative in opera serves as a bridge between musical numbers, providing the narrative tissue that keeps the story moving and coherent.
FINALE:
An opera finale is a musical section, typically at the end of an act, especially in operas of the Classical period. Here's more about the opera finale:
  1. Ensemble Piece: Unlike arias or recitatives which often spotlight individual characters, finales usually involve multiple characters, and at times, the entire cast. It's a complex ensemble piece.
  2. Culmination: The finale is a culmination of the act's dramatic tensions, conflicts, and emotions. It often weaves together different musical and thematic elements introduced earlier in the act.
  3. Dramatic Development: While early opera finales may have been more straightforward, later composers used the finale to further the drama. In some operas, especially those by composers like Mozart, the finale could be a long, multi-sectioned piece that goes through various moods, tempos, and musical ideas, mirroring the unfolding drama.
  4. Closure or Cliffhanger: Depending on its placement in the opera, a finale might offer closure to particular storylines or set up dramatic tension leading into the next act.
  5. Highlight for Composer's Skill: Crafting an effective finale requires the composer to demonstrate a mastery of musical form, as they have to integrate various musical themes and dramatic moments cohesively. It's often a testament to the composer's skill in both musical and dramatic composition.
In essence, the opera finale serves as a climactic moment, bringing together the threads of the narrative and musical themes in a powerful and cohesive manner.
CURTAIN CALL:
A curtain call in an opera (or in any theatrical or ballet performance) is the moment at the end of the show when the performers come out onto the stage to acknowledge and receive applause from the audience. Here's a breakdown:
  1. Acknowledging Applause: After the performance concludes, the curtain is raised, and the performers return to the stage to be recognized for their work and to thank the audience for their appreciation.
  2. Order of Appearance: Typically, performers come out in reverse order of prominence, with supporting roles appearing first and leading roles appearing last. This builds up to the star or primary attraction of the show.
  3. Multiple Bows: For particularly well-received performances, the cast may take multiple bows, responding to sustained applause or standing ovations from the audience.
  4. Acknowledging the Orchestra and Conductor: In operas, it's also common for the conductor and sometimes even the orchestra to receive acknowledgment during the curtain call. The conductor might come out to take a bow, or the audience might applaud towards the orchestra pit.
  5. Final Group Bow: Often, after individual acknowledgments, the entire cast will line up for a final group bow, signaling the definitive end to the performance.
The curtain call is an age-old tradition and provides a moment of direct interaction between the audience and the performers, allowing the audience to show their gratitude and admiration for the performance they've witnessed.

Aspects of Singing
Opera singing is a complex art form that requires a combination of technical skill, emotional expression, and physical stamina. The different aspects of opera singing include:
  1. Vocal Technique:
    • Breath Control: Proper breathing is foundational to opera singing, allowing for sustained notes and phrasing.
    • Projection: Unlike many other singing styles, opera singers often perform without microphones and must project their voices to fill large theaters.
    • Resonance: Achieving a full, rich sound that can carry over an orchestra.
    • Registration: Navigating different vocal registers smoothly, such as from chest to head voice.
  2. Diction and Language:
    • Pronunciation: Singers must clearly pronounce words, even while maintaining vocal techniques.
    • Language Proficiency: Operas are performed in various languages, including Italian, German, French, Russian, and more. Singers often need to learn roles in multiple languages.
  3. Musical Interpretation:
    • Phrasing: How the singer shapes a line or musical idea.
    • Dynamics: Control of volume, from soft passages to powerful climaxes.
    • Tempo and Rhythm: Staying in time and executing rhythmic patterns accurately.
  4. Characterization and Acting:
    • Emotional Expression: Conveying the emotions and motivations of the character through the voice.
    • Physical Acting: Movement, gestures, and facial expressions that complement the vocal performance.
    • Role Study: Understanding the character's background, motivations, and relationships.
  5. Physical Stamina and Health:
    • Vocal Health: Regular vocal rest, proper hydration, and avoiding activities that can strain or damage the voice.
    • Physical Fitness: The ability to perform while maintaining vocal quality, especially in roles that require significant movement or extended stage time.
  6. Collaboration:
    • Ensemble Singing: Blending and harmonizing with other singers on stage.
    • Orchestral Collaboration: Singing in harmony with an orchestra, under the guidance of a conductor.
  7. Repertoire Knowledge:
    • Familiarity with various opera styles, eras, and composers to select and prepare roles suited to one's voice and strengths.
  8. Stage Presence:
    • The ability to command attention and engage the audience, both vocally and physically.
Each of these aspects requires intensive training and practice. Opera singers often spend years studying and honing their craft, and even seasoned professionals continue to train and refine their skills throughout their careers.