Opera terms. Dictionary of musical terms

	EUGENE ONEGIN
	ZHADAN IVAN DANILOVYCH
	IVAN SUSANIN IOLANTA
	NETREBKO ANNA
	OBRAZTSOVA ELENA OTHELLO
	CLOWNS Queen of Spades
	SADKO THE WEDDING OF FIGARO THE BARBER OF SEVILLE
	TEBALDI RENATA TRAVIATA
	KHOVANSHCHINA
	THE ROYAL BRIDE

AUTOPHONY (from the Greek autos - itself and phone - sound) - the singer’s hearing of his own voice; The performer perceives his own voice not only through air environment, but also through the tissues of the head, which introduces significant distortion into the sound of the voice. Therefore, a singer who hears his voice for the first time in a sound recording, as a rule, does not recognize it by its timbre.

A CAPELLA (acapella singing) (Italian a cappella, “as in a chapel”) - polyphonic choral singing without instrumental accompaniment.

ACCENT (lat. accentus - emphasis) - highlighting, emphasizing a sound or chord: dynamic, rhythmic, timbre; in the wok. music also emphasizes the most significant word or syllable when pronouncing a text.

ALT (from Latin Alto-high) - a low female singing voice, as well as a low children's voice.

ARIETTA (Italian arietta - small aria, breeze) is a small aria in opera, as well as a small piece for any song instrument.

ARIOSO (Italian: arioso - like an aria) is a small aria of free construction.

ARIA (Italian Aria - song, air, wind) is a completed episode in an opera (cantata, oratorio), performed by a singer accompanied by an orchestra, in which the hero (soloist) conveys deep personal experiences.

ARTICULATORY APPARATUS - a system of organs, thanks to the work of which speech sounds are formed. These include: vocal folds, tongue, lips, soft palate, pharynx, lower jaw (active organs); teeth, hard palate, upper jaw (passive organs).

ARTICULATION - the work of the speech organs necessary to pronounce speech sounds.

ATTACK (Italian attaccare - to attack) - in singing - the beginning of sound. The attack can be hard (in which the vocal cords close tightly before the start of exhalation), soft (the cords close less tightly, with the start of exhalation), and aspirated (the cords close loosely, after the start of exhalation). Depending on the text (the sound that begins the word), on the stroke, and also for expressive purposes, different types of attack are used. In exercises, most vocalists prefer a soft attack, but for pedagogical purposes both hard (for example, with sluggish singing) and aspirated (with the so-called “closing” of ligaments, with a “throat” sound) are used.

BARITONE (Greek - heavy-sounding) - a man of medium height. voice; A-flat (G) range is large. Oct. - A-flat 1st Oct.; transitional registers. note D-sharp (D) 1st Oct.

BAS (Italian basso - low) - the lowest husband. voice; the fa range is large. Oct. - F 1st Oct., transitional register note C-sharp (C) 1st Oct.

FLUENCY is a technique of singing in fast motion.

WHITE SOUND is a term common in vocal practice to designate the so-called open sound of the voice. In the academic style of singing, such a sound is not allowed. White sound is used in classical singing as means of expression.

BEL CANTO - (Italian belcanto - beautiful singing) - a style of singing that developed in Italy by the middle of the 17th century. and dominated until the 1st half of the 19th century V. (bel canto era). IN modern understanding- emotionally rich, beautiful, melodious, sonorous vocal performance.

BLUES (English blues from blue devils) is a musical form and musical genre that originated in the late 19th century in the African-American community of the Southeastern United States.

VOCALISE - (Latin vocalis - vowel) - a piece of music for voice without text, written with the aim of developing certain vocal and technical skills or for concert performance.

VOCALIZATION - (from Italian vocalizzazione) - playing a melody on vowel sounds or singing individual syllables of a word.

VOCAL HEARING - a specific complex perception of sound through the muscular sense of sound along with other sensations accompanying singing (vibration, sensations of subglottic pressure, “column” of air).

VIBRATO, vibration (Italian vibrato, Latin vibratio - vibration) - periodic change in sound in pitch, strength and timbre. A distinction is made between the speed of vibration (the frequency of alternating periods per second) and its range (the degree of extreme deviations of sound). The speed of Vibration in 6-7 periods enriches the timbre of the sound, gives it emotionality and dynamism, and is an indispensable sign of a good singing voice. With a higher Vibrato speed, tremolation (“lamb”) appears in the voice; at a lower speed, accompanied by a larger swing, there is instability of intonation, “swinging” of the sound. To correct the shortcomings of Vibration, the following techniques are useful: a) exercises with melodic movement, b) exercises in quiet singing (as the sound increases, the scope of Vibrato increases, so it is more difficult to build a choir on forte), c) exercises in closed vowels (o, u), and also singing with your mouth closed.

VILLANELLA (Italian - village song) - Italian. song of the 15th-16th centuries, mainly 3-voice, with parallel. movement of voices, lively character, lyrical or humorous content.

SOUND PITCH is a property of musical sound that depends on the vibration frequency of the sounding body; in acoustics it is measured in hertz (the number of vibrations per second). In musical performance, a distinction is made between absolute height (tuning instruments and singers according to the standard of height - the tuning fork) and relative height, determined by the interval relationship of musical sounds.

GAMMA is a progressive sequence of sounds of a particular mode. Each scale is based on the first degree - the tonic, from which the name comes: scale C major, D minor, etc. Scales are commonly used to practice playing an instrument or singing.

VOICE HYGIENE - compliance by the singer with certain rules of behavior, singing regime. Before singing, you should not eat anything that irritates the throat: spicy, salty, hot, cold, seeds, nuts. Cold, heat, dust, as well as tobacco and especially beer and alcoholic drinks have a harmful effect on the vocal apparatus. Food should be taken no later than 2 hours before singing. In the cold season, when coming from the street, you need to warm up before singing, and when leaving after singing, you need to cool down first. In the morning it is useful to gargle with room water. Excessive talking tires the voice, so during choir classes every minute not spent singing should be used for rest. Forced (shouty) singing and loud speech, abuse of uncomfortable (high, low) tessitura, and performance of an overly complex repertoire weaken the voice. General fatigue and nervous shock have a negative effect on the voice. Women should not sing during monthly ill health (3 days); violation of this rule leads to unclean intonation and can cause disease of the vocal cords. In case of diseases of the vocal apparatus as a result of overwork, the singer’s presence in classes is also harmful, since under these conditions he is not at rest. In the process of learning to sing, one should be gradual in overcoming technical difficulties and alternate classes with rest. Works with high tessitura must be transposed downwards when learning and repeating them many times. Strengthening health, hardening the body against colds, proper organization of nutrition and rest increase vitality and have a positive effect on the voice; in turn, a good sounding voice has a beneficial effect on the singer’s well-being. To monitor the condition of the vocal apparatus, it is necessary to periodically conduct phoniatric examinations; Every singer should know the basic rules of singing hygiene.

HYMN (Greek hymnos) is a solemn, laudatory song. There are state, revolutionary, in honor of some event, religious, etc. State G., being musical. emblem of the state, are available in all countries.

SINGING VOICE - a set of singing sounds produced using the vocal apparatus. The singing sound is characterized by definiteness of pitch, clarity of vowels, greater or lesser length. The ability to sing is also called the singing voice (they talk, for example, about “voice production”); Sometimes the voice refers to the vocal apparatus (“voice protection”). Most people have the makings of a singing voice, but good voices are quite rare (M. I. Glinka defined a good voice as “faithful, sonorous, pleasant”). One of the best ways to help develop the voice (and the associated ear for music) is singing.

VOICE APPARATUS - organ of voice functioning, consisting of traces. parts: a) the larynx with vocal cords (two muscle folds) - the place of origin of sound; b) respiratory apparatus - nasal and oral cavities, nasopharynx, larynx, respiratory tract. throat-trachea, lungs; muscles that control breathing (diaphragm, inspiratory and expiratory muscles); c) resonators that enhance and color the chanter that occurs during the interaction of ligaments and breathing. sound (see Timbre); d) articulatory apparatus that forms vowels and consonants: lower. jaw, lips, tongue, soft palate. In the process of singing, all parts of the Voice Apparatus, controlled by the brain, act simultaneously and interconnectedly.

THROAT SOUND - a specific sound of the voice, resulting from the fact that the vocal folds work in the “overlapping” mode, i.e. during the process of oscillation, the phase of their closed state prevails over the open one, and the larynx itself is tense.

GLISSANDO (Italian glissando from the French glisser - to slide) is a musical term, a stroke, meaning a smooth slide from one sound to another; gives a coloristic effect. Glissando involves a smooth transition from one sound to another through all the sounds lying between them that can be played on a given instrument. In some cases, glissando differs from continuous portamento.

RANGE (from the Greek dia pason (chordon) - through all the strings) - the sound volume of the voice (instrument) from the lowest to the highest sound. The vocal range of a soloist (professional) must be at least 2 octaves, which allows him to perform leading opera roles and chamber repertoire. The requirements for the range of a professional choir singer are the same, significantly lower for a member of an amateur choir, where there is a lack of good high or low sounds one singer is compensated at the expense of the other. The range of singers in amateur choirs rarely exceeds the volume of the so-called working (most commonly used) range - one and a half octaves. When learning to sing, the range, as a rule, expands (in both directions), but it is necessary to ensure that the singer does not lose a good natural timbre.

DICTION (lat. dictio - pronunciation of speech) - clarity, legibility of text pronunciation. Good Diction is an indispensable condition for vocal, including choral performance; in a choir depends on the quality of pronunciation of each singer and on the uniformity and simultaneity of pronunciation by the entire choral part. Clear pronunciation of consonants is especially important. For clarity of diction, meaningful pronunciation and singing by heart are also important (the famous expression of vocalists: “The sound follows the sight”). Diction must correspond to the nature of the work.

JAZZ is a type of music that developed at the turn of the 19th and 20th centuries as a result of the fusion of European and African musical cultures (initially among blacks in the USA). The characteristic features of jazz are improvisation, rhythmic sophistication, and increased emotionality of performance.

DETONATION (from the French detonner - to sing out of tune) - singing with a low, or less often with an increased intonation.

DYNAMICS (Greek dynamis - strength) - a set of phenomena associated with volume - the strength of sound.

DISTONATION (Greek dis - negative prefix "not", tonos - tone, tension, stress) is a term that sometimes refers to false intonation in the direction of increasing.

BREATH (singing) one of the main factors in voice formation, the energy source of the voice, the most important element singing process; to some extent subordinated to the will of the singer (choice of the type of breathing, holding the breath before the sound attack, dosage of inhalation and exhalation). In modern vocal techniques, mixed or lower costal-diaphragmatic (thoraco-abdominal, costo-abdominal) breathing is adopted, when, with a deep inhalation, the lower ribs move apart, the diaphragm lowers (as a result of which the abdominal wall protrudes); shoulders and top part breasts are motionless. When exhaling, active inhibition of the diaphragm occurs, the ribs and abdominal wall gradually return to their original position (“singing on a support”). With incorrect, clavicular breathing, the chest and shoulders rise; Due to the overfilling of the lungs with air and its excessive pressure on the vocal cords, forcing, swinging of the sound, and unclean intonation occur. Since the types of breathing can vary somewhat and are related to other components of sound production, the main indicator of correct breathing should be the quality of the singing sound. Inhalation when singing is done quickly, silently, through the nose or through the mouth at the same time. The volume and nature of inhalation depend on the length, dynamics, nature of the musical phrase, and tempo. Exhalation from inhalation is separated by a greater or lesser pause—breath holding, the purpose of which is to activate and organize the vocal apparatus. Exhalation should be economical, without “leakage” of breath (causing noise); the air taken is used only to reproduce the supported sound. The choir uses simultaneous and so-called chain breathing. Teaching singers proper singing breathing is an important part of vocal work in a choir. The conductor's gesture has a direct impact on the singers' breathing.

CLOSED SOUND - the sound produced when singing with a closed mouth.

SOLO - the beginning of a song, performed by one or more singers (leaders), after which the choir enters; usually (in folk songs) the first phrase or part of the melody, sometimes the first half of the verse.

SOUND STUDY is a term denoting various types of voice guidance based on the sounds of a melody (for example, cantilena, portamento, marcato, etc.).

SOUND PRODUCTION (phonation, from the Greek phone - sound) - the extraction of singing and speech sound, the result of the action of the vocal apparatus. The singing sound, arising as a result of vibrations of the vocal cords, is amplified and enriched in timbre thanks to resonators.

IMPEDANCE (from Latin impeditio - obstacle) is the reverse acoustic resistance experienced by the vocal folds from the oropharyngeal canal.

INTERPRETATION - interpretation of a musical work in the creative process of performance (from Latin interpretatio - clarification, interpretation). Unlike other types of arts, music certainly needs a performer, an interpreter of the musical text.

INTONATION (from Latin intono - I pronounce it loudly) - 1) The embodiment of an artistic image in musical sounds. 2) A small, relatively independent melodic turn. 3) Accurate reproduction of pitch during musical performance.

YODL (German: Jodel) is a genre of folk songs among the Alpine mountaineers (in Austria, Southern Bavaria and Switzerland). The performance is characterized by a sharp change in the head (falsetto) and chest sound without a mix at wide intervals and the sounds of a decomposed chord.

CAVATINA -opera aria, characterized by a simple song structure.

CHAMBER SINGING (from Latin camera - room) - chamber music performance vocal music. Vocal chamber music(in the genres of song, romance, ensemble) from the end of the 18th century. and especially in the 19th century. took a prominent place in musical art. Gradually, a chamber performing style corresponding to the genre emerged, based on the maximum identification of intonation and semantic details of the music. Chamber singing has great potential for conveying the finest lyrical emotions. It requires from the performer a high musical and general culture, a flexible voice capable of the finest nuances, which does not necessarily have to be powerful.

CANTILENA - (lat. cantilena - singing) 1) Melodious, coherent performance of a melody, the main type of sound engineering, built on the legato technique. 2) A melodious melody, vocal or instrumental.

CANON (Greek canon - norm, rule) - polyphonic. music form, basic on a strict continuous simulation, in which. the voices repeat the melody of the leading voice, entering before the previous one ends. The melody that sounds from the very beginning of the canon is called proposta, and the voices that enter later are called rispostas.

CANTATA (Italian cantare - to sing) - prod. for solo singers, choir and orchestra, solemn or lyrical-epic. character. Concerts can be choral (without soloists), chamber (without choir), with accompaniment. or without it...

COMPRIMARIO - an opera singer who performs minor roles.

CLIMAX - an episode of a musical work where the highest tension, intensity of feelings and, most often, the greatest strength of sound are achieved.

MASK is a term for vocal practice that means the sensation of vibrations in the upper part of the face that occurs during singing as a result of resonance of the nasal and paranasal cavities.

MEDIUM - (from Latin medius - middle) a term used in vocal pedagogy to designate the middle part of the range of female voices.

MELISM - (from the Greek melisma - song, melody) 1) Melodic passages (coloraturas, roulades, passages and other vocal embellishments) and entire melodies performed on one syllable of the text (hence the expression “melismatic singing”). 2) Melodic decorations in vocal and instrumental music (foreshlag, mordent, gruppetto, trill).

MELODECLAMATION - (from Greek melos - melody and from Latin declamation - recitation) - artistic reading poetry or prose against the background of musical accompaniment, as well as works based on such a combination of text and music.

MELODY - (Greek melodia - singing, song, melody) - music. a thought expressed in one voice. M. is the main expressive means of music, in which the muses are united. elements: pitch and rhythmic relationships of sounds, timbre, dynamics, articulation.

METER (Greek metron - measure) - sequential alternation of strong and weak beats (pulsations) in rhythmic movement. The strong beat forms a metrical accent, with the help of which the muses. the piece is divided into bars.

METRONOME (Greek metron - measure, nomos - law) - a device for determining tempo; improved by I. N. Meltsel (1816), hence sometimes the designation (M. M. - Meltsel's metronome).

MEZZA VOCE - (Italian mezza voce - in an undertone) - singing in the dynamics of a mezza piano, preserving all the qualities of supported mixed sound production, but with a predominance of falsetto work of the vocal folds.

Mezzo-Soprano (Italian mezzo - average) - average female. voice. The A range is small. Oct. - la² (rarely higher). There are high (lyrical) M.-s., whose sound character is close to soprano, and low, which is close to contralto.

MIXT - (from Latin mixtus - mixed) - a register of a singing voice in which the chest and head resonances are mixed.

FAMILY - movements of the facial muscles as an expression of mentality. states. M. plays a significant role in the color (timbre) of the singing sound (the expression of the French teacher-vocalist F. Delsarte is known: “Timbre is rooted in facial expressions, and facial expressions are rooted in the psyche”).

MONODY (Greek monodia - song of one) - single-voice or group singing in unison or octave.

MALE CHOIR - a choir consisting of men. voices: tenors (sometimes altino tenors), baritones, basses (including octavists). Thanks to the range of up to 3 octaves or more, M. x. has significant performing abilities.

MUTATION - (from Lat. mutation - change, change) - the transition of a child's voice into the voice of an adult.

HUNT - a small vocal melody.

FOLK MANNER OF SINGING - a style of singing characterized by a sharp separation of registers and greater openness of sound.

Nasal overtone is an overtone that occurs in the timbre of the voice when the soft palate lowers, when some of the sound waves directly enter the nasal cavity.

OVERTONES (from German Obertone - upper tones) - harmonic consonances, partial tones, overtones that are part of the fundamental tone, arising from vibrations of parts of the sounding body (strings, column of air). Overtones are always higher than the fundamental tone. The frequency of vibrations is an integer number of times (2, 3, 4, etc.) greater than the frequency of vibrations of the fundamental tone; for example, 1/2 of the sounding string (twice the number of vibrations) gives an octave from the fundamental tone (denoted by the number 2), 1/3 of the string - a fifth through the octave (denoted by 3), 1/4 - the 2nd octave and a quart from the 3rd O., 1/5 part - a third through 2 octaves, etc. The sequence of overtones in ascending order forms the so-called natural scale ("overtone series"), expressed by a series of numbers (starting from one - the fundamental tone) . Overtones sound much weaker than the main tone, but with different volumes, forming one or another timbre of the voice or instrument. The predominance of low overtones gives the sound fullness and softness, while the upper ones give it sonority and sharpness. The natural scale provides a physical basis for many musical phenomena (intervals, major triads, consonance, etc.).

OPORA is a term used in vocal art to characterize a stable, correctly formed singing sound (“supported sound”) and manner of voice formation (“singing on a support”).

ORTHOEPIA (from the Greek orthos - correct, epos - speech) - the correct literary pronunciation of the text.

OPEN SOUND - transferring the speech sound of vowels into singing. Used in folk singing.

Score (Italian partitura - division, distribution) - musical notation of ensemble music in which. the parts of all voices have been combined (instrumental). There is a more or less constant order of arrangement of parties (votes) in the P.

SINGING INSTALLATION - the position that the singer must take before starting phonation (sound production). Singing position in a standing position: straight, collected position of the body (not loose, but not “extended”); equal support on both legs; arms are freely lowered to the sides or connected with hands in front of the chest or behind the back; the chest is turned out, the shoulders are slightly pulled back; The head is held straight, not tense. When sitting, the same position of the body and head is maintained; your legs are placed at a right angle (you cannot tuck them under you or sit with your legs crossed, as this interferes with proper breathing). It is very important to train singers to adopt the singing attitude at the right time, as this helps them acquire proper singing skills.

SINGING SENSATIONS - sensations that help the singer control his voice formation.

TRANSITIONAL SOUNDS - sounds that lie on the border of the natural registers of the voice.

SONG is the most common wok genre. music, combining a poetic image with a musical one. Characteristic of a song is the presence of a complete, independent melodious melody, simplicity of structure (usually a period or 2-3-part form, most often in the form of a lead and a chorus).

SOUND POSITION is a term used in vocal pedagogy to express the influence of timbre on the perception of pitch. There are high and low positions.

PORTAMENTO (from Italian portare la voce - to transfer the voice) - in solo singing, a sliding transition from one melody sound to another. One of the means of expressiveness in singing.

VOICE PRODUCTION is the process of developing qualities in the voice necessary for its professional use; consists in developing in the student reflex movements of the vocal apparatus that contribute to the correct sound. The concept of a well-produced voice includes its evenness over the entire range (smoothness of registers), sonority, closeness of vowels, beauty of timbre, and flexibility. A well-produced voice is characterized by the presence in its sound of so-called singing formants.

COVERING THE SOUND is a vocal technique used in the formation of the upper part of the vocal range above transitional sounds, tuning the vocal apparatus (mainly due to the expansion of the lower part of the pharynx and the corresponding formation of the oral cavity), giving the singing sound some darkness, softness, and depth. The covering of a sound is acoustically related to the presence of the so-called lower formant in it. Covering the sound is used in vocal pedagogy to smooth out registers, which results in a seemingly homogeneous voice over the entire range. In academic singing, only a covered sound is used (the open sound is used as an exception, for special performance purposes). However, one should be wary of excessive darkening (“overlap”) of the sound, giving it a dull, dull timbre. The measure of sound coverage is set by the teacher and conductor, guided by his vocal hearing and aesthetic taste.

SINGING—vocal and auditory tuning of singers at the beginning of classes or before a concert; aims to prepare each singer and the entire choir to work on the repertoire and for concert performance.

REGISTER (Latin registrum - list, list) - part of the range of the voice (instrument), united by the similarity of timbre based on the uniformity of sound production. The voice differs in the lower, or chest register (with the predominant use of the chest resonator), the upper, or head register (falsetto), mixed, or mixed. Male voices have two natural registers: chest and head; for women - three: chest, mixed, head. In the voice of an untrained singer, the registers are sharply distinguishable; their boundaries are determined by the so-called transitional (turning point) sounds, more or less constant for each type of voice: for bass C-sharp1 (C1), for baritone D-sharp1 (D1), for tenor F-sharp1 (F1), for soprano E1 - F1 (when moving to a mixed register) and F-sharp2 (F2) (when moving to the head register), for mezzo-soprano and contralto F-sharp1 (F1) (when moving to a mixed register) and D-sharp2 (D2) (when moving to the head register). The “produced” voice is distinguished by the smoothness of the registers, the gradual transition from the lower sounds of the range to the upper ones. The use of "clean" registers by trained singers, unlike folk singers, is used sporadically, like vocal coloring. The execution of transitional (to the upper resonator) sounds requires some darkening of them - “covering”.

REPERTOIRE (from Latin repertorium - list, inventory) - a set of works performed at a concert or studied during classes. The correct selection of repertoire is an important condition for the success of the choir.

RESONANCE (from the French resonance, from the Latin resono - I sound in response, I respond) is a phenomenon in which oscillations of the same frequency arise in a body called a resonator under the influence of external vibrations.

RESONATORS (from the Latin resono - I respond) are a part of the vocal apparatus that gives the weak sound arising on the vocal cords strength, sonority, and a characteristic timbre. Resonators are divided into upper (head, located above the ligaments - the pharynx, mouth, nose and accessory cavities) and lower (chest - trachea, bronchi). In addition, resonators are divided into movable (capable of changing their shape and volume, controllable - the cavities of the pharynx and mouth) and fixed (the functioning of which can only be influenced indirectly).

RECITATIVE (from Italian recitare - read aloud, recite) - a type of vocal music that intonationally and rhythmically reproduces everyday or declamatory speech; In addition to solo music, it is also used in choral music, opera scenes, etc. horah...

RULADA (from the French rouler - to roll back and forth) - a fast virtuoso passage in singing, a type of coloratura.

SERENADE is a widely used name in Italy and Spain for welcoming plays, usually performed in the evening hours in front of the beloved’s house (the name of the term comes from the Italian expression al sereno - in the open air).

SYNCOPE (Greek syncope - abbreviation) - a discrepancy between a rhythmic or dynamic accent and a metric one; occurs due to shortening of the strong beat or a pause on it and lengthening weak beat(causing it to become heavier)…

SOLFEGING (solfege) - singing with the names of notes; widely used in choirs. When learning parts, solfeges are often started, since this highlights the pitch and rhythmic aspects of the melody for study...

SOPRANO (from Italian sopra - above, above) - 1) The highest female, children's (also treble) voice. The range is up to ¹ - up to ³, occasionally higher (sol³) and low (A small oct.) sounds are found.

TIMBRE (French timbre - mark, distinctive sign) - color of sound; depends on various combinations of overtones, highlighting some and masking others. Voice timbre is largely an innate quality, but under the influence of training and practice it can change. Beautiful timbre is the most valuable property of a voice. Timbre affects the perception of intonation: with poor timbre, intonation also seems unclean. Timbre serves as an important means of musical expression, including in choral performance. Voice timbre is associated with facial expressions. Deep penetration into the content of the work, revealing one’s attitude towards what is being performed is reflected in the singers’ facial expressions, and hence in the color of the sound. Work on the beauty and expressiveness of timbre is an integral part of the vocal education of singers and should be carried out from the first stage of choral training.

Musical TEMP (from Latin tempus - time) - speed of performance, expressed in the frequency of alternation of metric beats. Tempo determines the absolute speed of a piece, as opposed to the relative speed associated with rhythmic relationships...Tempo in music is denoted in Italian terms.

TENOR (Italian, from Latin teneo - I hold) - 1) In the middle. centuries (from the 12th century) the main voice of a contrapuntal composition, setting out the main melody (cantus firmus); At first he was the lower voice, with the addition of the bass he became the middle one. 2) High male singing voice.

TESSITURA (Italian tessitura - fabric) - the pitch position of the melody in relation to the range of a particular voice, without taking into account the extremely low and high sounds of the voice. Tessitura can be high, medium (most convenient for singing, favorable for intonation), low. The use of tessitura conditions is one of the means of expressiveness.

TRILL (Italian trillo, from trillare - to rattle) is a melodic decoration consisting of two rapidly alternating adjacent sounds, of which the lower one is the main one, determining the height of the trill, and the upper one is auxiliary.

Troubadours (French troubadours, Ox. trobador) are medieval poets-singers, songwriters, often called minstrels. Their work covers the period of the 11th-13th centuries, its heyday occurred in the 12th - early 13th centuries.

TRUVERE is a French medieval wandering poet and singer (from the French trouvère - to invent, to find). Early Trouvères (XI-XII centuries) were close to folk art

UNISON (from Latin unus - one and sonus - sound) - the simultaneous sound of 2 or several sounds of the same height (octave U. - a combination of identical sounds in different octaves).

Falsetto (lat. falsetto, from falso - false) - a method of forming high sounds, as well as the upper register of the male singing voice, characterized by a weak sound and poor timbre.

FERMATA (from Italian fermata, lit. - stop) - prolongation of a sound (chord) or pause for an indefinite time, prompted by the music. the feeling of the performer (the greater the shorter the duration; large durations with F. are sometimes even shortened).

FILLING, FILLING - (from the French filer un son - to pull a sound) - the ability to smoothly change the dynamics of a drawn sound from forte to piano and vice versa.

FIORITURA - (Italian fioritura - flowering) - various kinds of melodic decorations.

FORMANT (lat. formans - forming) - a group of amplified overtones that form a specific timbre of the voice. In acoustics, overtones of a certain frequency give the sound of a voice and instrument a characteristic timbre (as well as the sounds of speech, thanks to which they are recognized). They arise mainly as a result of one or another functioning of the upper resonators. A good (natural or cultivated) singing voice is characterized by two characteristic formants: high (approx. 3000 hertz), which gives it sonority, flight, and low (approx. 500 hertz), imparting depth and cover to the voice. There is a device - a spectrograph, which clearly shows the presence of formants in a singer.

PHONASTENIA (Greek phone - voice, stenos - narrow, cramped) - a nervous functional disease of the voice, without visible changes in the voice. apparatus. It is expressed in rapid fatigue, false intonation (mainly in the low and middle register), tremulousness...

PHONIATRICS is a branch of medicine that deals with the functioning of the vocal apparatus and its diseases.

FORCING (from the French force - strength) - singing with excessive tension of the vocal apparatus, violating the timbre qualities of the voice and the naturalness of the sound.

PHRASING - a clear artistic and semantic highlighting of music. phrases and other constructions when performing music. works. Phrasing uses differentiation through caesuras, unification through leagues, articulation, and nuance.

CHORUSMaster - conductor of a choir. Typically, a choirmaster is the name of the choir leader who works with the group when learning the repertoire. Responsible manager choir group in the opera house is also called a choirmaster.

CHROMATIC GAMMA - sequential movement of sounds in semitones from the original sound (tonic) to its octave. As a rule, the scale is built on the basis of the major and minor scales by filling whole tones with increased and decreased degrees.

CAESURA (from Latin caesura - dissection) - the line between parts of music. the piece is performed in the form of a short, barely noticeable pause, often accompanied (in singing) by a change in breathing.

Kochneva, I. Vocal dictionary / I. Kochneva, A. Yakovleva. - Leningrad: Music, 1986. Kruntyaeva, T. S. Dictionary of foreign musical terms / T. S. Kruntyaeva, N. V. Molokova - Moscow; St. Petersburg: Music, 1996. Lamperti, F. The Art of Singing / F. Lamperti. - St. Petersburg: PLANET OF MUSIC Publishing House, 2010. A brief musical dictionary-reference book / general edition by E. Leonov. - Moscow: Kifara, 2002. Terminological Dictionary of Chobit Olesya Valerievna

Tasks:

• Educational:
  consolidate the concept of genre: opera.
• Developmental:
  The main thing in opera is human characters, feelings and passions, clashes and conflicts that can be revealed by music.
• Develop the ability to think about music and the works of composers from different eras.
• Educational: to awaken students' interest in the genre - opera, and the desire to listen to it not only in class, but also outside it.

During the classes

1. Music is playing. J.B. Pergolesi.”Stabat Mater dolorosa”

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Among the countless wonders,
What nature itself has given us,
There is one thing, incomparable to anything,
Unfading through any years, -

He gives the quivering delight of love
And warms the soul in the rain and cold,
Bringing back sweet days to us,
When every breath was full of hope.

Before him both the beggar and the king are equal -
The singer’s fate is to give himself away, to burn out.
He was sent by God to do good -
Death has no power over beauty!
Ilya Korop

“The 18th century was the century of beauty, the 19th century was the century of feeling, and the finale of the 20th century was the century of pure drive. And the viewer comes to the theater not for a concept, not for ideas, but to feed on energy, he needs a shock. That’s why there is such a demand for pop culture – there is more energy there than in academic culture. Cecilia Bartoli told me that she sings opera like rock music, and I understood the mystery of the fantastic energy of this great singer. Opera has always been a folk art; in Italy it developed almost as a sport - a competition of singers. And it should be popular.” Valery Kichin

In literature, music and other arts, various types of works have developed during their existence. In literature, this is, for example, a novel, a story, a story; in poetry - poem, sonnet, ballad; in fine arts - landscape, portrait, still life; in music - opera, symphony... A type of work within one art is called by the French word genre (genre).

5. Singers. During the 18th century. The cult of the virtuoso singer developed - first in Naples, then throughout Europe. At this time, the role of the main character in the opera was performed by a male soprano - a castrato, that is, a timbre whose natural change was stopped by castration. Castrati singers pushed the range and mobility of their voices to the limits of what was possible. Opera stars such as castrato Farinelli (C. Broschi, 1705–1782), whose soprano was said to be superior in strength to the sound of the trumpet, or mezzo-soprano F. Bordoni, about whom it was said that she could sustain the sound longer than any singer in the world, completely subordinated to their mastery those composers whose music they performed. Some of them composed operas themselves and directed opera troupes (Farinelli). It was taken for granted that singers decorated melodies composed by the composer with their own improvised ornaments, without paying attention to whether such decorations suited plot situation opera or not. The owner of any type of voice must be trained to perform fast passages and trills. In Rossini's operas, for example, the tenor must master the coloratura technique no worse than the soprano. The revival of such art in the 20th century. allowed us to give new life to the diverse operatic creativity Rossini.

Opera singers are usually divided into six types according to their voice range. Three female voice types, from high to low - soprano, mezzo-soprano, contralto (the latter is rare these days); three male - tenor, baritone, bass. Within each type there may be several subtypes depending on the quality of the voice and singing style. The lyric-coloratura soprano is distinguished by a light and exceptionally agile voice; such singers are able to perform virtuosic passages, fast scales, trills and other embellishments. Lyric-dramatic (lirico spinto) soprano is a voice of great brightness and beauty.

The timbre of a dramatic soprano is rich and strong. The distinction between lyric and dramatic voices also applies to tenors. There are two main types of basses: “singing bass” (basso cantante) for “serious” parts and comic bass (basso buffo).

Assignment for students. Determine what type of voice performs:

• Santa Claus part – bass
• Spring Part – mezzo-soprano
• Snow Maiden part – soprano
• Lelya’s part – mezzo-soprano or contralto
• Mizgir part – baritone

The chorus in opera is interpreted in different ways. It can be background, unrelated to the main storyline; sometimes a kind of commentator on what is happening; its artistic capabilities make it possible to show monumental pictures of folk life, to reveal the relationship between the hero and the masses (for example, the role of the choir in the folk musical dramas of M. P. Mussorgsky “Boris Godunov” and “Khovanshchina”).

Let's listen:

• Prologue. Picture one. M. P. Mussorgsky “Boris Godunov”
• Picture two. M. P. Mussorgsky “Boris Godunov”

Assignment for students. Determine who is the hero and who is the mass.

The hero here is Boris Godunov. The mass is the people. The idea of ​​writing an opera based on the plot of Pushkin’s historical tragedy “Boris Godunov” (1825) was given to Mussorgsky by his friend, the prominent historian Professor V.V. Nikolsky. Mussorgsky was extremely fascinated by the opportunity to translate the topic of the relationship between the tsar and the people, which was acutely relevant for his time, and to bring the people as the main actor operas. “I understand the people as a great personality, animated by a single idea,” he wrote. “This is my task. I tried to solve it in opera.”

6. Orchestra. In the musical dramaturgy of the opera, a large role is assigned to the orchestra; symphonic means of expression serve to more fully reveal the images. The opera also includes independent orchestral episodes - overture, intermission (introduction to individual acts). Another component of an opera performance is ballet, choreographic scenes where plastic images are combined with musical ones. If the singers are the leads in an opera performance, then the orchestral part forms the frame, the foundation of the action, moves it forward and prepares the audience for future events. The orchestra supports the singers, emphasizes the climaxes, fills gaps in the libretto or moments of scenery changes with its sound, and finally performs at the conclusion of the opera when the curtain falls. Let's listen to Rossini's overture to the comedy “The Barber of Seville” . Form of “stand-alone” opera overture fell into decay, and by the time “Tosca” appeared Puccini (1900), the overture could be replaced by just a few opening chords. In a number of operas of the 20th century. there are no musical preparations whatsoever for stage action. But since the essence of opera is singing, the highest moments of the drama are reflected in the completed forms of aria, duet and other conventional forms where music comes to the fore. An aria is like a monologue, a duet is like a dialogue; a trio usually embodies the conflicting feelings of one of the characters in relation to the other two participants. With further complication, different ensemble forms arise.

Let's listen:

• Aria of Gilda “Rigoletto” by Verdi. Action 1st. Left alone, the girl repeats the name of the mysterious admirer (“Caro nome che il mio cor”; “The heart is full of joy”).
• Duet of Gilda and Rigoletto “Rigoletto” Verdi. Action 1st. (“Pari siamo! Io la lingua, egli ha il pugnale”; “With him we are equal: I have the word, and he has the dagger”).
• Quartet in “Rigoletto” by Verdi. Action 3. (Quartet “Bella figlia dell”amore”; “Oh young beauty”).
• Sextet in Donizetti's “Lucia di Lammermoor”

The introduction of such forms usually stops the action to allow room for the development of one (or more) emotions. Only a group of singers, united in an ensemble, can express several points of view on current events. Sometimes the choir acts as a commentator on the actions of opera characters. In general, the text in opera choirs is spoken relatively slowly, and phrases are often repeated to make the content understandable to the listener.

Not all operas can draw a clear line between recitative and aria. Wagner, for example, abandoned completed vocal forms, aiming at the continuous development of musical action. This innovation was taken up, with various modifications, by a number of composers. On Russian soil the idea of ​​continuous musical drama” was, independently of Wagner, first tested by A.S. Dargomyzhsky in “The Stone Guest” and M.P. Mussorgsky in “Marriage” - they called this form “conversational opera”, opera dialogue.

7. Opera houses.

• the Parisian “Opera” (in Russia the name “Grand Opera” stuck) was intended for a bright spectacle (Fig. 2).
• The “House of Ceremonial Performances” (Festspielhaus) in the Bavarian town of Bayreuth was created by Wagner in 1876 to stage his epic “musical dramas”.
• The Metropolitan Opera building in New York (1883) was conceived as a showcase for the world's best singers and for respectable box subscribers.
• “Olympico” (1583), built by A. Palladio in Vicenza. Its architecture, a microcosm of Baroque society, is based on a distinctive horseshoe-shaped plan, with tiers of boxes fanning out from the center - the royal box.
• La Scala Theater (1788, Milan)
• “San Carlo” (1737, Naples)
• “Covent Garden” (1858, London)
• Brooklyn Academy of Music (1908) America
• San Francisco Opera House (1932)
• Chicago Opera House (1920)
• new Metropolitan Opera building in New York's Lincoln Center (1966)
• Sydney Opera House (1973, Australia).

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Thus, opera ruled the whole world.

During Monteverdi's era, opera rapidly conquered big cities Italy.

Romantic opera in Italy

Italian influence even reached England.

Like early Italian opera, French opera of the mid-16th century. came from the desire to revive ancient Greek theatrical aesthetics.

If in France the spectacle was of paramount importance, then in the rest of Europe it was the aria. Naples became the center of operatic activity at this stage.

Another type of opera originates from Naples - opera buffa, which arose as a natural reaction to opera seria. The passion for this type of opera quickly spread to European cities - Vienna, Paris, London. Romantic opera in France.

Ballad opera influenced the development of German comic opera - Singspiel. Romantic opera in Germany.

Russian opera of the Romantic era.

“Czech Opera” is a conventional term that refers to two contrasting artistic directions: pro-Russian in Slovakia and pro-German in the Czech Republic.

Homework for students. Each student is given the task of familiarizing himself with the work of a composer (optional) in which opera flourished. Namely: J. Peri, C. Monteverdi, F. Cavalli, G. Purcell, J. B. Lully, J. F. Rameau, A. Scarlatti, G. F. Handel, G. B. Pergolesi, G. Paisiello , K.V.Gluck, W.A.Mozart, G.Rossini, V.Bellini, G.Donizetti, G.Verdi, R.Leoncavallo, G.Puccini, R.Wagner, K.M.Weber, L. Wang Beethoven, R. Strauss, J. Meyerbeer, G. Berlioz, J. Bizet, C. Gounod, J. Offenbach, C. Saint-Saens, L. Delibes, J. Massenet, C. Debussy, M. P. Mussorgsky, M.P. Glinka, N.A. Rimsky-Korsakov, A.P. Borodin, P.I. Tchaikovsky, S.S. Prokofiev, D. D. Shostakovich, Antonin Dvorak, Bedrich Smetana, Leos Janacek, B. Britten , Carl Orff, F. Poulenc, I. F. Stravinsky

8. Famous opera singers.

• Gobbi, Tito, Domingo, Placido
• Callas, Maria (Fig. 3) .
• Caruso, Enrico, Corelli, Franco
• Pavarotti, Luciano, Patti, Adeline
• Scotto, Renata, Tebaldi, Renata
• Chaliapin, Fyodor Ivanovich, Schwarzkopf, Elisabeth

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9. Demand and modernity of opera.

Opera is a rather conservative genre by nature. This is due to the fact that there is a centuries-old tradition, determined by the technical capabilities of execution. This genre owes its longevity to the great effect it has on the listener through the synthesis of several arts that can produce an impression on their own. On the other hand, opera is an extremely resource-intensive genre; it is not for nothing that the word “opera” itself translated from Latin means “work”: of all musical genres, it has the longest duration, it requires high-quality scenery for production, maximum skill of singers for performance and a high level complexity of the composition. Thus, opera is the limit to which art strives in order to make the maximum impression on the public using all available resources. However, due to the conservatism of the genre, this set of resources is difficult to expand: it cannot be said that over the past decades the composition of the symphony orchestra has not changed at all, but the whole basis has remained the same. The vocal technique also changes little, due to the need for high power when performing opera on stage. Music is limited in its movement by these resources.

A stage performance in this sense is more dynamic: you can stage a classical opera in an avant-garde style without changing a single note in the score. It is generally believed that the main thing in an opera is the music, and therefore the original scenography cannot ruin the masterpiece. However, this usually doesn't work out that way. Opera is a synthetic art, and scenography is important. A production that does not correspond to the spirit of the music and plot is perceived as an inclusion alien to the work. Thus, classical opera often does not meet the needs of producers who want to express modern sentiments on the musical theater stage, and something new is required.

The first solution to this problem is a musical.

The second option is modern opera.

There are three degrees of artistic content in music.

• Entertainment . This option is uninteresting, since to implement it it is enough to use ready-made rules, especially since it does not meet the requirements for modern opera.
• Interest. In this case, the work brings pleasure to the listener thanks to the ingenuity of the composer, who found an original and most effective way to solve an artistic problem.
• Depth. Music can express high feelings that give the listener inner harmony. Here we are faced with the fact that modern opera should not cause harm mental state. This is very important, because, despite the high artistic merit, music can contain features that subtly subjugate the will of the listener. Thus, it is widely known that Sibelius promotes depression and suicide, and Wagner promotes internal aggression.

The significance of modern opera lies precisely in the combination of modern technologies and fresh sound with the high artistic merits characteristic of opera in general. This is one way to reconcile the desire to express modern sentiments in art with the need to maintain the purity of the classics.

Perfect vocals based on cultural roots, refracts in its individuality public school singing, and can serve as the basis for the unique sound of modern operas written for specific performers.

You can write a masterpiece that does not fit into the framework of any theory, but sounds great. But to do this, it still must satisfy the requirements of perception. The stated rules, like any others, can be broken.

Homework for students. Mastering the characteristic features of the compositional style of works by Russian composers, Western European and modern composers. Analysis of musical works (using the example of opera).

Used Books:

1. Malinina E.M. Vocal education of children. – M., 1967.
2. Kabalevsky D.B. Music program in secondary schools. – M., 1982.
3. That's right R. Series “Lives of Great Composers”. POMATURE LLP. M., 1996.
4. Makhrova E.V. Opera theater in the culture of Germany in the second half of the twentieth century. St. Petersburg, 1998.
5. Simon G.W. One Hundred Great Operas and Their Plots. M., 1998.
6. Yaroslavtseva L.K. Opera. Singers. Vocal schools of Italy, France, Germany of the 17th – 20th centuries. – “ Publishing House“Golden Fleece”, 2004
7. Dmitriev L.B. Soloists of the La Scala Theater on vocal art: Dialogues on singing technique. – M., 2002.

A capella- choral (ensemble) singing without instrumental accompaniment.

Divisi- temporary division of a choral part into two, three or more voices.

Dies irae(from the Latin “Dies irae” - “Day of Wrath”) - a medieval Catholic chant. The melody is distinguished by its harsh, restrained expressiveness. The tune Dies irae as a symbol of death was used in the works of many composers, including W. A. ​​Mozart, F. Liszt, G. Berlioz, G. Verdi, P. I. Tchaikovsky, S. V. Rachmaninoff. It is also one of the sections of the requiem.

Lamento(from Italian - complaint) - designation of music of a mournful, sad nature. Example: the cry of Ariadne from the opera “Ariadne” by C. Monteverdi, the cry of Dido from the opera “Dido and Aeneas” by G. Purcell. Also found in madrigals and cantatas.

Alto- low female or child's voice. Range from F of the small octave to F of the second octave (higher - very rarely).

Antiphon(from Greek antiphonos- countersound) - alternate singing of two choirs, or a choir and a soloist. The origin of the antiphon goes back to Ancient Greece, to the singing of dithyrambs. Later, the antiphonal principle of singing moved into tragedy, where the choir was usually divided into two semi-choirs. Antiphonal singing was used in the cult music of Palestine and Byzantium. In Western Europe, the introduction of the antiphon into Christian worship is associated with the name of the Milanese Bishop Ambrose. From Milan, the antiphon spread throughout Italy, and then to other European countries. The principle of antiphonal singing has also passed into secular music; it is found in folk songs, as well as in choral works by composers of the past and present. For example: the choir “Echo” by O. Lasso, the choir “Stars” by S. I. Taneyev, etc.

Antem(from English anthem, lat. antiphona, from Greek. antiphonos- sounding in response) - a spiritual chant in England, created based on a text from the Bible on English language. There are two main types of anthem: early, the so-called full anthem (performed by a choir a capella), it is close to a motet; and a verse, or strophic, anthem, based on the alternation of choral and solo sections with instrumental accompaniment, it is akin to the cantata. This genre reached its highest flowering in the work of G. Purcell. They also turned to the composition of anthems in the 19th century. - S. Wesley, in the 20th century. - B. Britten, S. Barber.

Analysis of a choral score- study of a vocal and choral score, consisting of oral or written (annotation) analysis. The analysis includes: general information about the authors of music and text, analysis of the literary text, characteristics of choral parts (ranges, tessitura), analysis of musical expressive means (texture, form, thematism, melody, harmony, rhythm, agogics, etc.) , and an implementation plan is outlined.

Arioso(from Italian. arioso- like an aria) is a small vocal work, more free-form than an aria. If an aria in an opera is a musical characteristic of the hero, then an arioso is his response to some dramatic situation, a generalization of the content of the previous recitative, some emotional experience. For example: Lensky’s arioso “In your house” or Onegin’s arioso “Alas, there is no doubt” from the opera “Eugene Onegin” by P. I. Tchaikovsky.

Opera(Italian opera- business, labor, work; lat. - a genre of musical and dramatic art in which the content is embodied by means of musical dramaturgy, mainly through vocal music. Literary basis operas - libretto. The word "opera" translated from Italian literally means work, composition. In that musical genre poetry and dramatic art, vocal and instrumental music, facial expressions, dancing, painting, scenery and costumes.

The composer writes an opera based on a plot borrowed from literature, for example: “Ruslan and Lyudmila”, “Eugene Onegin”. The verbal text of an opera is called a libretto.

Almost every opera begins with an overture - a symphonic introduction that generally introduces the listener to the content of the entire action.

History of the opera:

Opera appeared in Italy, in mysteries, that is, spiritual performances in which occasionally introduced music was at a low level. Spiritual comedy: “Conversion of St. Paul" ( 1480BeveriniXVI centurypastoralsOrazio Vecchi1597

At the end of the 16th century, attempts to introduce monophonic singing (monody) into such works brought opera to the path on which its development quickly advanced. The authors of these attempts called their musical and dramatic works drama in music or drama per music; the name "opera" began to be applied to them in the first half of the 17th century. Later, some opera composers, for example Richard Wagner, again returned to the name “musical drama”.

The first opera house for public performances was opened in 1637 in Venice; previously opera served only for court entertainment. The first major opera can be considered “Euridice” by Jacopo Peri, performed in 1597. In Venice, since the opening of public performances, 7 theaters have appeared within 65 years; 357 operas were written for them by different composers (up to 40). The pioneers of opera were: in Germany - Heinrich Schütz (Daphne, 1627), in France - Camber (La pastorale, 1647), in England - Purcell; in Spain the first operas appeared at the beginning XVIII century; in Russia, Araya was the first to write an opera (“Mullet and Procris”) based on an independent Russian text (1755). The first Russian opera written in Russian manners is “Tanyusha, or Happy Meeting,” music by F. G. Volkov (1756).

In 1868, the Armenian composer Tigran Chukhajyan created the opera “Arshak II” - the first opera in musical history East. First opera in Muslim world considered to be the opera “Leyli and Majnun” created in 1907 by the Azerbaijani composer Uzeyir Hajibeyov. However, it should be noted that in 1890 Chukhadzhyan wrote (on the plot of an Arabic fairy tale and on Turkish) and then the opera “Zemire” was staged many times, which “ Short story Opera" calls the beginning of the opera tradition in Muslim Turkey.

The origins of opera can be considered ancient tragedy. How independent genre opera originated in Italy at the turn of the 16th and 17th centuries in a circle of musicians, philosophers, and poets in the city of Florence. The circle of art lovers was called “camerata”. The members of the “camerata” dreamed of reviving ancient Greek tragedy, combine drama, music and dance in one performance. The first such performance was given in Florence in 1600 and told about Orpheus and Eurydice. There is a version that the first musical performance with singing was staged in 1594 on the plot of the ancient Greek myth about the struggle of the god Apollo with the serpent Python. Gradually, opera schools began to appear in Italy in Rome, Venice, and Naples. Then the opera quickly spread throughout Europe. At the end of the 17th and beginning of the 18th century, the main types of opera emerged: opera seria (grand serious opera) and opera buffa (comic opera).

At the end of the 18th century, the Russian Theater was opened in St. Petersburg. At first only foreign operas were shown. The first Russian operas were comic. Fomin is considered one of the creators. In 1836, the premiere of Glinka’s opera “A Life for the Tsar” took place in St. Petersburg. Opera in Russia acquired a perfect form, its features were determined: the bright musical characteristics of the main characters, the absence of spoken dialogues. In the 19th century, all the best Russian composers turned to opera.

[edit]Varieties of opera

Historically, certain forms have developed opera music. If there are some general patterns Operatic dramaturgy, all its components, depending on the types of opera, are interpreted differently.

· grand opera ( opera series- Italian, tragedy lyrique, later grand opera- French),

· semi-comic ( semiseria),

· comic opera ( opera buffa- Italian, opera-comique- French, Spieloper- German),

· romantic opera with a romantic plot.

· ballad opera

· semi-opera, half-opera, half-opera ( semi- lat. half) - a form of English baroque opera that combines oral Drama (genre) drama, vocal mise-en-scène, govek and symphonic works. One of the adherents of semi-opera is considered English composer Henry Purcell/

· opera-ballet

In comic opera, German and French, between musical numbers dialogue is allowed. There are also serious operas in which dialogue is inserted, for example. “Fidelio” by Beethoven, “Medea” by Cherubini, “The Magic Shooter” by Weber.

· Operetta emerged from comic opera, which became especially widespread in the second half of the 19th century.

· Operas for children's performance (for example, operas by Benjamin Britten - " Little chimney sweep", "Noah's Ark", operas by Lev Konov - "King Matt the First", "Asgard", "The Ugly Duckling", "Kokinvakashu").

[edit]Elements of opera

Opera- is a synthetic genre that unites in one theatrical action various types of arts: drama, music, art(scenery, costumes), choreography (ballet).

The opera ensemble includes: soloist, choir, orchestra, military band, organ. Opera voices: (female: soprano, mezzo-soprano, contralto; male: countertenor, tenor, baritone, bass).

An operatic work is divided into acts, pictures, scenes, and numbers. Before the acts there is a prologue, at the end of the opera there is an epilogue.

Interlude(Latin intermedia - located in the middle) - 1. A small musical piece, placed between the more important parts of a large work. 2. Inserted or in a major theatrical work, suspending the development of the action and not having a direct relationship to it. 3. A connecting episode between two passages in an instrumental piece in general.

Intermezzo(Italian intermezzo - pause, intermission) - connecting more important sections; also the name of individual, mainly instrumental, plays of varying character and content.

Introduction(Latin introductio - introduction) - 1. Small-sized opera house, directly introducing into action. 2. An initial section of some kind, which has its own character of music.

Kant(from Latin cantus - singing) - in Russian, Ukrainian and Polish music of the 17th-18th centuries, lyrical songs for a three-voice choir without accompaniment; In the era of Peter I, greeting cants of a cheerful march-like character (see) spread, performed on the occasion of official celebrations.

Koda(Italian coda - tail, end) - the final section of a musical work, usually of an energetic, impetuous nature, affirming its main idea, the dominant image.

Coloratura(Italian coloratura - coloring, decoration) - coloring, varying the melody with a variety of flexible, moving passages, decorations.

Color(from Latin color - color) in music - predominant emotional coloring of one or another episode, achieved by using various, , and other means of expression.

Kolyadka- the general name of Slavic folk rituals of pagan origin associated with the celebration of Christmas (New Year's Eve).

Banknote(French coupure - cutting, abbreviation) - reduction of a musical work by removing, omitting any, in -, or.

Lezginka- a dance common among the peoples of the Caucasus, temperamental, impetuous; size 2/4 or 6/8.

Motive(from Italian motivo - reason, motivation, and lat. motus - movement) - 1. A part that has an independent expressive meaning; a group of sounds - a melody, united around one accent - stress. 2. In the common meaning - tune, melody.

Nocturne(French nocturne - night) - a name that spread in the 19th century for relatively small instrumental (rarely -) lyrical-contemplative in nature with expressive melodiousness.

But no(from Latin nonus - ninth) - a relatively rare type of operatic or chamber music for nine participants.

Oh yeah(Greek ode) - the name of a musical work (usually -) of a solemn laudatory nature, borrowed from literature.

Octet(from Latin octo - eight) - eight participants.

Parody(Greek parodià, from para - against and ode - song, singing, letters, singing in reverse) - imitation for the purpose of distortion, ridicule.

Prelude, foreplay(from Latin prae - before and ludus - play) - 1. Introduction, introduction to a play or completed musical piece, etc. 2. A common name for small instrumental pieces of varying content, character and structure.

Premiere- first performance, at the theater; the first public performance of a musical work (applies to major works only).

Buffoons- native Russian speakers folk art in the XI-XVII centuries, wandering actors, musicians and dancers.

Sonata allegro- the form in which the first parts of the sonata are written and, - sustained in fast (allegro). The form of the sonata allegro consists of three large sections: exposition, development and reprise. Exposition - a presentation of two central, contrasting musical images, created in the main and secondary; development-