392:
51:
611:
467:": " The musical composer revolted against the wilfulness of the singer"; rather than "unfold the purely sensuous contents of the Aria to their highest, rankest, pitch", Gluck sought "to put shackles on Caprice's execution of that Aria, by himself endeavouring to give the tune an expression answering to the underlying Word-text". This attitude was to underlie Wagner's would-be deconstruction of aria in his concept of
657:
455:, the singers were often masters of the stage and the music, decorating the vocal lines so floridly that audiences could no longer recognise the original melody. Gluck wanted to return opera to its origins, focusing on human drama and passions and making words and music of equal importance. The effects of these Gluckist reforms were seen not only in his own operas but in the later works of
185:(air), first appeared in relation to music in the 14th century when it simply signified a manner or style of singing or playing. By the end of the 16th century, the term 'aria' refers to an instrumental form (cf. Santino Garsi da Parma lute works, ('Aria del Gran Duca'). By the early 16th century it was in common use as meaning a simple setting of
379:. The orchestra then played a second ritornello usually shorter than the first. The singer re-entered and sang the same words through a second time. The music of this second paragraph was often slightly more elaborate than that of the first. There were more repeats of words and perhaps more florid vocalisations. The key worked its way back to the
326:. "It offered balance and continuity, and yet gave scope for contrast. The very regularity of its conventional features enabled deviations from the normal to be exploited with telling effect." In the early years of the century, arias in the Italian style began to take over in French opera, giving rise eventually to the French genre of
418:
author of the words must take care that two pathetic arias do not succeed one another. He must distribute with the same precaution the bravura arias, the arias of action, the inferior arias, and the minuets and rondeaus. He must, above all things, avoid giving impassioned arias, bravura arias, or rondeaus, to inferior characters.
417:
The three principal personages of the drama ought to sing five arias each; two in the first act, two in the second, and one in the third. The second actress and the second soprano can only have three, and the inferior characters must be satisfied with a single aria each, or two at the most. The
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Despite the ideals of Gluck, and the trend to organise libretti so that arias had a more organic part in the drama rather than merely interrupting its flow, in the operas of the early 19th century, (for example those of
292:(literally, 'little return'), a recurring instrumental episode which featured certain phrases of the aria proper and provided, in early operas, the opportunity for dancing or entries of characters.
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In the context of staged works and concert works, arias evolved from simple melodies into structured forms. In such works, the sung, melodic, and structured aria differed from the speech-like (
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630:" were titled at their 1741 publication "Clavier Ubung bestehend in einer ARIA mit verschiedenen VerĂŠnderungen" ("Keyboard exercise, consisting of one ARIA with diverse variations.")
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became essential to the structure of the aria â "while the words determine the character of a melody the ritornello instruments often decided in what terms it shall be presented."
428:(comic opera) were often specific in character to the nature of the character being portrayed (for example the cheeky servant-girl or the irascible elderly suitor or guardian).
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arias in their own operas or operas of other composers) were written by composers to provide the opportunity for vocal display for concert singers; examples are
224:â the latter tending to carry the story-line, the former used to convey emotional content and serve as an opportunity for singers to display their vocal talent.
459:; the arias now become far more expressive of the individual emotions of the characters and are both more firmly anchored in, and advance, the storyline.
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offer extended narrative arias for leading roles that enable, in their scope, intensification of drama and characterisation. Examples include
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became a typifying feature of
European opera throughout the 18th century and is thought by some writers to be a direct antecedent of
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The term 'aria' was frequently used in the 17th and 18th centuries for instrumental music modelled on vocal music. For example,
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The first section normally began with an orchestral ritornello after which the singer entered and sang the words of the first
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which dominated the period of the French baroque. Vocal solos in his operas (known of course as the French term,
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key. Other variants of these forms are found in the French operas of the late 17th century such as those of
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had established the aria form, and especially its da capo version with ritornelli, as the key element of
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were threadbare and the repetition of the same characters made them seem no more than stereotypes. In
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After around 1850, aria forms in
Italian opera began to show more variety â many of the operas of
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the singing was devoted to superficial effects and the content was uninteresting and stale. As in
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Anthony, James R. (1991). "Air and Aria added to French Opera from the Death of Lully to 1720".
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Types of operatic aria became known by a variety of terms according to their character â e.g.
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opera also sought to integrate arioso elements although still allowing some 'show-pieces'.
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The word is sometimes used in contemporary music as a title for instrumental pieces, e.g.
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had strayed too far from what opera should really be, and seemed unnatural. The jokes of
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A favoured form of aria in the first half of the 19th century in
Italian opera was the
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in their entirety. By the end of this first vocal paragraph the music, if it were in a
136:
1138:
Solie, John F. (1977). "Aria
Structure and Ritornello Form in the Music of Albinoni".
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By later in the century it was clear that these formats were becoming fossilized.
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proper, repeated in whole or in part. Typically such arias would be preceded by
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By the late 17th century operatic arias came to be written in one of two forms.
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In the work of
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arias remained focal attractions, and they continued to play a major role in
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after which the orchestra rounded the section off with a final ritornello.
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The nature and allocation of the arias to the different roles in
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Robinson, M. F. (1962). "The Aria in Opera Seria, 1725â1780".
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form (ABACA), (a shape which is analogous to the instrumental
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Platoff, John (1990). "The Buffa Aria in Mozart's Vienna".
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165:. The term was originally used to refer to any expressive
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Musical piece for a single voice as part of a larger work
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was highly formalized. According to the playwright and
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aria the 'B' episode would typically be in a different
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Aria form in late 17th century French and
Italian opera
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was to praise Gluck's innovations in his 1850 essay "
1188:. Lincoln and London: University of Nebraska Press.
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511:
section is followed by a more animated section, the
37:"Arias" redirects here. For people named Arias, see
986:"Birtwistle â Grimethorpe Aria for brass ensemble"
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169:, usually, but not always, performed by a singer.
498:, and in Italian opera through the 19th century.
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645:'s brass band piece, "Grimethorpe Aria" (1973).
330:, normally in a relatively simple ternary form.
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1041:Lewis, Anthony (1959). "Handel and the Aria".
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551:Later in the century, the post-1850 operas of
359:M. F. Robinson describes the standard aria in
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877:, p. 33. (Translation slightly adapted).
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316:By the early 18th century, composers such as
181:, which derives from the Greek áŒÎźÏ and Latin
1096:Proceedings of the Royal Musical Association
1044:Proceedings of the Royal Musical Association
348:(aria of a comic type, typically given to a
231:arias were in two sections (AâB); arias in
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70:instruction). First edition, London, 1719.
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337:('speaking-style', narrative in nature),
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375:as it usually was, had modulated to the
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54:The farewell aria of Sultan Bazajet in
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710:, §2: Seventeenth century vocal music.
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592:, and a number of concert arias by
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996:from the original on 28 April 2018
153:, but vocal arias also feature in
146:, normally part of a larger work.
108:in common usage; diminutive form:
25:
1829:
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800:Merriam-Webster dictionary online
149:The typical context for arias is
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344:(typically given to a heroine),
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975:website, accessed 21 March 2013
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161:, or they can be stand-alone
750:, p. 31. See also e.g.
395:Gluck in a 1775 portrait by
286:aria came to be include the
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1813:Italian opera terminology
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1078:10.1017/S0954586700003177
851:Webster's 1913 Dictionary
433:Christoph Willibald Gluck
413:, in his autobiography,
1066:Cambridge Opera Journal
825:"Aria di bravura"
809:accessed 21 March 2013.
1164:(n.d.). "Ritornello".
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507:, in which a songlike
422:By contrast, arias in
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235:(AâBâA) were known as
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1746:Stile rappresentativo
1154:10.1093/mq/LXIII.1.31
1141:The Musical Quarterly
954:Westrup et al. (n.d.)
928:Westrup et al. (n.d.)
916:Westrup et al. (n.d.)
708:Westrup et al. (n.d.)
696:Westrup et al. (n.d.)
618:(first edition, 1741)
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32:Aria (disambiguation)
1123:. New York: Norton.
1109:10.1093/jrma/88.1.31
1057:10.1093/jrma/85.1.95
1022:RĂ©vue de musicologie
383:for the final vocal
318:Alessandro Scarlatti
129:; in English simply
41:. For the city, see
30:For other uses, see
1419:Tragédie en musique
1288:Concert performance
790:, pp. 213â215.
722:, pp. 202â205.
643:Harrison Birtwistle
637:'s 1980 'aria' for
628:Goldberg Variations
616:Goldberg Variations
263:Jean-Baptiste Lully
1751:Tenore contraltino
1209:Grove Music Online
1167:Grove Music Online
971:2013-05-04 at the
889:, pp. 99â100.
805:2013-02-02 at the
620:
614:Title page of the
606:Instrumental music
435:thought that both
400:
193:, free of complex
118:[aËrjetta]
72:
1795:
1794:
1224:The Aria Database
990:Universal Edition
966:Boosey and Hawkes
901:, pp. 26â27.
864:, pp. 34â35.
820:Moore, John Weeks
698:, §1: Derivation.
599:Conservati fedele
488:Gaetano Donizetti
484:Gioachino Rossini
177:The Italian term
16:(Redirected from
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1756:Tenore di grazia
1511:Aria di sorbetto
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1130:9780393302196
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1118:
1114:
1110:
1106:
1102:
1098:
1097:
1091:
1087:
1083:
1079:
1075:
1072:(2): 99â120.
1071:
1067:
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1046:
1045:
1039:
1036:(2): 201â219.
1035:
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899:Wagner (1995)
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778:, p. 96.
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732:Talbot (n.d.)
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588:, Op. 65, by
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567:Concert arias
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354:bass-baritone
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144:accompaniment
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74:In music, an
69:
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63:
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57:
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48:
44:
40:
33:
19:
1716:Solita forma
1596:Da capo aria
1505:
1490:Sprechgesang
1450:KammersÀnger
1389:Haute-contre
1343:Sung-through
1207:
1179:
1165:
1148:(1): 31â47.
1145:
1139:
1121:Sonata Forms
1120:
1100:
1094:
1069:
1065:
1048:
1042:
1033:
1020:
1012:
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998:. Retrieved
989:
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923:
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882:
869:
857:
850:
847:"Aria buffa"
842:
832:. New York:
829:
814:
795:
783:
776:Lewis (1959)
771:
764:Lewis (1959)
759:
752:Rosen (1988)
748:Solie (1977)
743:
736:Solie (1977)
727:
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691:
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663:Opera portal
632:
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477:19th century
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312:18th century
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137:instrumental
130:
126:
109:
105:
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75:
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65:
59:
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1696:Prima donna
1671:Opera seria
1591:Convenienze
1581:Comprimario
1571:Chiaroscuro
1333:Patter song
1328:Opera house
1283:Chest voice
1025: [
583:Ah! perfido
496:grand opera
453:opera buffa
449:opera seria
445:opera buffa
441:opera seria
437:opera buffa
425:opera buffa
404:opera seria
361:opera seria
323:opera seria
302:sonata form
229:Binary form
1818:Song forms
1802:Categories
1787:HovsÄngare
1706:Ritornello
1701:Recitative
1691:Portamento
1651:Melodramma
1626:Intermezzo
1621:Impresario
1611:Falsettone
1576:Coloratura
1404:Répétiteur
1298:Head voice
1051:: 95â107.
678:References
624:J. S. Bach
525:Casta diva
517:recitative
408:librettist
346:aria buffa
306:ritornelli
298:ritornelli
296:aria with
289:ritornello
222:recitative
141:orchestral
64:(note the
1761:Tessitura
1686:Pasticcio
1681:Passaggio
1616:Fioritura
1586:Contralto
1556:Cantabile
1546:Cabaletta
1526:Bel canto
1485:Spieloper
1480:Sitzprobe
1475:Singspiel
1470:Regieoper
1460:Leitmotif
1394:IntermĂšde
1384:Entr'acte
1348:Surtitles
1318:Monodrama
1313:Melodrama
1308:Mad scene
1265:by origin
1103:: 31â43.
1086:193182157
873:Cited in
822:(1880) .
590:Beethoven
546:Rigoletto
513:cabaletta
509:cantabile
504:cabaletta
373:major key
243:decorated
195:polyphony
191:madrigals
173:Etymology
155:oratorios
61:Tamerlano
58:'s opera
1741:Stagione
1711:Sinfonia
1636:Libretto
1606:Falsetto
1566:Cavatina
1561:Castrato
1541:Burletta
1536:Brindisi
1424:Travesti
1399:Overture
1338:Prompter
1293:Duodrama
1178:(1995).
1119:(1988).
1000:28 April
994:Archived
969:Archived
930:, §5.2..
803:Archived
649:See also
377:dominant
339:aria di
255:dominant
217:parlando
205:In opera
187:strophic
159:cantatas
114:Italian:
97:Italian:
80:Italian:
1771:Vibrato
1766:Verismo
1736:Squillo
1721:Soprano
1646:Maestro
1641:Licenza
1551:Cadenza
1531:Bravura
1499:Italian
1409:Roulade
1271:English
1013:Sources
561:verismo
492:bravura
385:cadence
341:bravura
328:ariette
294:Da capo
284:da capo
272:rondeau
247:da capo
127:ariette
110:arietta
67:da capo
1731:Spinto
1666:Musico
1631:Legato
1516:Arioso
1433:German
1414:Timbre
1379:Encore
1364:Claque
1357:French
1323:Number
1192:
1127:
1084:
918:, §5.1
594:Mozart
576:insert
553:Wagner
457:Mozart
369:stanza
304:. The
253:â the
167:melody
56:Handel
1808:Arias
1780:Other
1676:Ossia
1521:Banda
1263:terms
1260:Opera
1082:S2CID
1029:]
683:Notes
555:were
530:Norma
521:scena
381:tonic
277:rondo
151:opera
106:arias
18:Arias
1601:Diva
1506:Aria
1440:Fach
1190:ISBN
1125:ISBN
1002:2018
670:See
486:and
439:and
350:bass
267:airs
179:aria
157:and
93:arie
76:aria
1150:doi
1105:doi
1074:doi
1053:doi
849:in
641:or
533:of
490:),
352:or
279:).
257:or
251:key
183:aer
139:or
132:air
123:pl.
89:pl.
1804::
1146:63
1144:.
1101:88
1099:.
1080:.
1068:.
1049:85
1047:.
1034:77
1032:.
1027:fr
992:.
988:.
906:^
828:.
734:;
602:.
537:.
473:.
220:)
201:.
125::
121:;
112:,
104:;
95:,
91::
87:;
1252:e
1245:t
1238:v
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1170:.
1156:.
1152::
1133:.
1111:.
1107::
1088:.
1076::
1070:2
1059:.
1055::
1004:.
836:.
754:.
78:(
45:.
34:.
20:)
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