What is recitative?

<img src=”https://images.immediate.co.uk/production/volatile/sites/24/2022/05/FigaroFloridaOpera-2632b52.png?quality=90&resize=620,413″ srcset=”https://images.immediate.co.uk/production/volatile/sites/24/2022/05/FigaroFloridaOpera-2632b52.png?quality=45&amp;resize=1440,959 1440w, https://images.immediate.co.uk/production/volatile/sites/24/2022/05/FigaroFloridaOpera-2632b52.png?quality=45&amp;resize=1200,799 1200w, https://images.immediate.co.uk/production/volatile/sites/24/2022/05/FigaroFloridaOpera-2632b52.png?quality=90&amp;resize=960,639 960w, https://images.immediate.co.uk/production/volatile/sites/24/2022/05/FigaroFloridaOpera-2632b52.png?quality=90&amp;resize=720,479 720w, https://images.immediate.co.uk/production/volatile/sites/24/2022/05/FigaroFloridaOpera-2632b52.png?quality=90&amp;resize=576,383 576w, https://images.immediate.co.uk/production/volatile/sites/24/2022/05/FigaroFloridaOpera-2632b52.png?quality=90&amp;resize=360,239 360w, https://images.immediate.co.uk/production/volatile/sites/24/2022/05/FigaroFloridaOpera-2632b52.png?quality=90&amp;resize=180,119 180w, ” sizes=”(max-width: 620px) 100vw, 620px” width=”620″ height=”413″ class=”wp-image-167449 alignnone size-landscape_thumbnail” alt=”Figaro_FloridaOpera” title=”Figaro_FloridaOpera” /> <h2 style=”font-weight: 400;”><strong>What is recitative?</strong></h2> <p style=”font-weight: 400;”>Most often used in opera and <strong><a href=”https://www.classical-music.com/features/articles/what-oratorio/”>oratorio</a></strong>, recitative is a type of singing in which the soloist adopts the rhythm and delivery of ordinary speech to move the plot forward. The vocalist is guided by the free rhythm of the words, so the instrumental accompaniment is fairly minimal.</p> <p style=”font-weight: 400;”>This differs substantially from the more formal <a href=”https://www.classical-music.com/features/articles/what-aria/”><strong>aria</strong></a> form in opera, which is fundamentally a musical vehicle rather than a plot device, and as such prioritises more complex melody, rhythm, harmony and instrumentation. In aria, the singer may repeat words and phrases to fit with the musical structure.</p> <iframe title=”What is a Recitative? / Leonard Bernstein · Omnibus: &quot;American Musical Comedy&quot;” width=”200″ height=”113″ src=”https://www.youtube.com/embed/IDq4KqP7Pxs?feature=oembed” frameborder=”0″ allow=”accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture” allowfullscreen></iframe> <h2 style=”font-weight: 400;”><strong>When did recitative first appear?</strong></h2> <p style=”font-weight: 400;”>Inspired by oratory, recitative developed in the late 1500s as an opposing form to the polyphonic (many-voiced) style of 16th-century choral music.</p> <section class=”highlight “> <div class=”highlight__content editor-content”> </p> <ul> <li><strong><a href=”https://www.classical-music.com/features/articles/what-was-the-first-opera-ever-written/”>What was the first opera ever written?</a></strong></li> <li><a href=”https://www.classical-music.com/features/articles/what-aria/”><strong>What is an aria?</strong></a></li> <li><a href=”https://www.classical-music.com/composers/the-greatest-opera-composers-of-all-time/”><strong>The greatest opera composers of all time</strong></a></li> <li><a href=”https://www.classical-music.com/features/works/best-italian-operas/”><strong>Italian operas: 5 of the best to explore after Tosca</strong></a></li> <li><a href=”https://www.classical-music.com/features/articles/what-is-the-difference-between-a-musical-and-an-opera/”><strong>What is the difference between a musical and an opera?</strong></a></li> <li><a href=”https://www.classical-music.com/features/works/20-greatest-operas-all-time/”><strong>The 20 greatest operas of all time</strong></a></li> </ul> <p> </p> <p> </div> </section> <h2 style=”font-weight: 400;”><strong>What are the two types of recitative?</strong></h2> <h3><strong>Recitativo secco</strong></h3> <p style=”font-weight: 400;”><strong>Recitativo secco</strong> (dry recitative) is sung with a free rhythm dictated by the accents of the words. Accompaniment, usually by continuo (cello and harpsichord), is simple and chordal. Popularised in Florence during the late 16th century, the style was often found in <strong><a href=”https://www.classical-music.com/features/articles/five-essential-works-monteverdi/”>Claudio Monteverdi</a></strong>‘s operas during the 17th century, and continued to be used into the 19th century by such composers as <strong><a href=”https://www.classical-music.com/composers/gaetano-donizetti/”>Gaetano Donizetti</a></strong>.</p> <iframe title=”Georg Nigl – L'Orfeo – Monteverdi – Tu se' morta” width=”200″ height=”113″ src=”https://www.youtube.com/embed/SyPUJwGEUgA?feature=oembed” frameborder=”0″ allow=”accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture” allowfullscreen></iframe> <h3><strong>Recitativo stromentato</strong> or <strong>accompagnato</strong></h3> <p style=”font-weight: 400;”><strong>Recitativo stromentato</strong> or <strong>accompagnato</strong> (accompanied) has stricter rhythm and more involved, often orchestral, accompaniment. Used at dramatically important moments, it is more emotional in character. Its vocal line is more melodic, and often it leads into a formal aria. Examples include ‘Thus saith the Lord’ from <strong><a href=”https://www.classical-music.com/features/articles/five-essential-works-handel/”>Handel</a></strong>‘s <strong><a href=”https://www.classical-music.com/features/recordings/best-recordings-handel-s-messiah/”><em>Messiah</em></a></strong>; and <strong><a href=”https://www.classical-music.com/features/articles/five-essential-works-haydn/”>Haydn</a></strong> and <strong><a href=”https://www.classical-music.com/composers/10-mozart-myths/”>Mozart</a></strong> were also fond of it.</p> <iframe title=”Beethoven Opera Fidelio _ Recitative and aria of Leonore_Juliane Banse_Musica Viva Orchestra” width=”200″ height=”113″ src=”https://www.youtube.com/embed/_WYa7zP9P6A?feature=oembed” frameborder=”0″ allow=”accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture” allowfullscreen></iframe> <h2 style=”font-weight: 400;”><strong>When did recitative go out of fashion?</strong></h2> <p style=”font-weight: 400;”>By the mid to late 1800s, composers like <strong><a href=”https://www.classical-music.com/composers/giuseppe-verdi/”>Verdi</a></strong>, <strong><a href=”https://www.classical-music.com/composers/richard-wagner-2/”>Wagner</a></strong> and <strong><a href=”https://www.classical-music.com/features/articles/six-best-puccini-arias/”>Puccini</a></strong> were pushing the limits of recitative and aria conventions, blurring the distinct boundaries found in most operas of the previous 200 years.</p> <p><em>Photo: The Marriage of Figaro at Florida Grand Opera in 2019 © Daniel Azoulay</em></p>

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