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Baroque Italian Opera Scenes, Led by Ivy Walz

Baroque Italian Opera Scenes, Led by Ivy Walz
Music Phrases Through the Ages
Concert Report #3
Lauren Thaete
November 14, 2014

On November 9, 2014, at 7:30 PM, the Ithaca College Light Opera as led by Ivy Walz, performed Baroque Italian Opera Scenes in Presser Hall. The program included many famous pieces from the Baroque time period that dealt with love, lust, and betrayal such as “L’Incoronazione di Poppea, Monteverdi, Prologue” and “L’Incoronazione di Poppea, Monteverdi, Scene 6.”

The opening piece to this concert was “L’Incoronazione di Poppea, Monteverdi, Prologue,” as performed by vocalists Leanne Averill (Fortuna), Liliana Saffa (Virtu), and Ann-Marie Iacoviello (Amor). This piece was full of passionate acting and rivaling voices that would increase both dynamically and in difficulty as the song progressed. The increase in intensity was a reflection of the plot since “L”Incoronazion di Poppea, Monteverdi, Prologue” is about two goddesses disputing about who had more power over humanity. Musically, this piece contained many characteristics that were similar to the Classical music we’ve listened to in class. Many of the phrases had clear cadences that often times were Perfect Authentic cadences. Each voice had its turn to present a point and argue their point, similar to the debates that would occur in the Enlightenment Salons. One difference between this piece and Classical pieces, is that “L’Incoroanzion di Poppea, Monteverdi, Prologue” had three set levels of dynamics: piano, mezzo forte, and forte. The conscious choice to perform with terraced dynamic levels is an authentic reflection of the instruments limitation from the Baroque times, such as the Harpsichord, which only had three fixed dynamic levels. Another difference between the music at this concert and Classical music was the type of trills used. In this performance, both vocalists and pianist began trills on the upper note whereas Classical music begins the trill on the lower note. The effect of these embellishments throughout the opening act created a sense of royalty and sophistication.

After a short intermission, the performance began again with more Eros driven Opera Scenes such as “L’Incoronazione di Poppea, Monteverdi, Scene 6:” as performed by Andrew Carr (Valetto) and Magdalyn Chauby (Damigella). The scene starts off with Valetto expressively singing romantic lyrical melodic lines with thick vibrato to woe Damigella, a lady in waiting. However, Damigella’s repetitious and minor tonality responses suggested that she was not interested in Valetto. Out of all the pieces performed, this was my favorite piece because of how well the text was painted and portrayed by the vocalists. Without knowing any Italian, I was able to identify the clear emotional shifts in Damigella as reflected by the tonality and dynamic levels of the song. Even the desperation of Valetto could be heard by his unresolved open cadences. The text was then brought to life with very subtle choreography that climaxed when the two vocalists touched hands. The song was both thoroughly entertaining as well as easy to relate to making it a great piece to listen to near the end of the concert.

Overall this concert was very engaging, even though it was in a completely difference language. The vocalists did an amazing job, and the performance was very memorable. I would recommend anyone, especially those who like singing, to see shows similar to this production, since I had goose bumps and shivers running down my back. While Baroque music may not be the most modern or cutting edge music, it definitely made for pleasant performance.

Le Sacre Du Printempts (Rite of Spring) by Igor Stravinsky

Rite of Spring

Music Phrases Through the Ages

Lauren Thaete

November 13, 2014

Times: 2:49-4:11

Igor Stravinsky’s Le Sacre du Prinptemps (The Rite of Spring) Opening Scenes of the Adoration of the Earth

            The Modernism Era was a time of doubt, loss in faith, and depression throughout Europe and the United States. World War I and World War II resulted in millions of deaths that created mass devastation. Because life was unbearably agonizing, many artists ceased to create art. However, composers such as Igor Stravinsky continued to create music to fill the emotional void. In Le Sacre Du Prinptemps, Igor Stravinsky used innovative timbre, disjunct melodies, and unsettling rhythms to reflect 20^th century ascetics and emotions of modernism.

            Igor Stravinsky’s use of unorthodox timbre colors and arrangements allowed for him to express the chaos and futility of the times. Within the time frame 2:49-4:11, Stravinsky created three blocks of sound that each represent a different perspective of the 20^th century. The first block of sound color exists from 2:49-3:13 and includes a rich polyphonic texture with descending woodwind lines. Within this thick cacophony, a trumpet sounds at 2:58 above the entire ensemble that Stravinsky used to represent the unbelievably high mortality rate of the Modernist Era since a trumpet timbre is often associated with calling men to war or taps played at a funeral. The second block in this section occurs between 3:13-3:45 where the bassoon plays a solo. Stravinsky used the bassoon’s timbre in an extremely difficult range for the bassoonist to reflect the desperation felt in the 20^th century. Lastly, Stravinsky juxtaposes the thin texture created by the bassoon with the entire string section playing in rhythmic monophony at 3:45. The sound of the entire string section working in unison creates a sense of urgency and militarism that is representative of war during the Modernism times. Though timbre plays a large role in Igor Stravinsky’s ability to reflect 20^th century ideals, the disjunct melodies that occur in each sound block serves just an important of a role in creating emotional ambiguity.

            The use of fragmented melodic lines in The Rite of Spring allowed for Igor Stravinsky to express despair and visceral connections from the 20th century. The excerpt at 2:49 begins with a polyphonic dialog between the brass, strings, and woodwinds. However, each of these three sections are stratified and therefore act independent of each other. In fact, the trumpet’s call-and-response line, often times does not have a clear response because Stravinsky wanted to create a sense of alienation. Stravinsky’s ability to defy all expectations of melodic continuity between 2:49 and 3:13 convey the Modernist idea that war was a conflict between countries acting independently in their own interests. Stravinsky also expressed the increase in deaths as a result of war in the 20th century through the descending lines of the woodwinds at 2:56 for descending music often meant a descent to hell or death, whereas ascending music represented an ascent to heaven or birth. Within the second block of sound 3:13-3:45, Stravinsky used the monophonic solo texture of the bassoon to juxtapose the sporadic and stratified lines pervious to 3:13 to create a sense of imbalance or discomfort felt during times of depression and war. The melodic line of the bassoon is then contrasted by the monophonic melody of the strings at 3:45. Stravinsky’s use of the entire string section on one rhythm reflects Modernist ideals melodically because even though all of the instruments have come together to play in unison, the harsh articulations and irregular accents confirm the there will never be comfort in life, even when supported by an entire section. While the melodic lines within the Rite of Spring help Stravinsky confirm the emotional uncertainty of the times, it is Stravinsky’s innovative use of unsettling rhythms that allows for him to drive home the true alienation and dissonance of the Modernism times.

            Igor Stravinsky’s use of desultory rhythms and stratified layers in the Rite of Spring’s unsupported metric structure embodies the order-less aesthetics of the 20^th century. At 3:13-3:45, Stravinsky continued to challenge any convention for meter during the bassoon solo due to the increase in the technically difficult rhythmic lines that sound in nonmeter to confirm the sense of confusion and hopelessness of the Modernism times. To create a feeling of dissonance and self-doubt, Stravinsky purposefully assigns various instruments different heard meters at the same time between 3:45-4:11. Specially, the percussive strings at 3:45 are felt in a simple duple feel if their accents hit on the + of 5 and the + of 6. The accents continue to grow at an exponential rate away from each to build a large emotional void. However, a beat cannot be established since the trumpet’s melodic line at 4:05 is felt in an un-prescribed compound pulse. Because the layering of meters distorts the beat, Stravinsky is able to make an insecure feeling similar to the insecurity felt by people of the early 20^th century during the Great Depression. Stravinsky’s unsettling and unconventional use of accents allows for him to express the lack of reason in the world and humanity felt in the Modernism era for every expectation in this section is completely thwarted.

Though many remember the 20^th century as a time of Jazz or Rock ‘n Roll, the early 1900’s were fill with the universal pain and misfortune caused by WWI and WWII. Igor Stravinsky’s unconventional use of timbre, melodic lines, and rhythms only further reflected the loss of faith in humanity during the Modernist Era. While many artists felt too much pain to create anymore, Igor Stravinsky was able to embody the fragmentation and despair of the 20^th century in masterpieces such as the Rite of Spring.