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Subject: Re: when is an aria not an aria? - was extra long musical introductions
From: Bob Rideout <[log in to unmask]>
Reply-To:Bob Rideout <[log in to unmask]>
Date:Sat, 3 Feb 2018 12:06:12 +0000
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An aria is a piece of music sung by one person from beginning to
end. There are at least twenty examples of the dictionary definition
of "aria" on Google. There is no deviation fom the standard that an
aria is performed by one "soloist".

As for "A te, o cara" specifically, it is in every way a quartet and the
fact that some tenors have recorded it as a solo changes nothing.
Liszt wrote a ton of transcriptions for piano using music from opera.
That does not make "Caro Nome", by definition, a solo for piano.

The fact that John McEnroe and other tennis announcers call a Major
a Grand Slam does not make it so. A Grand Slam is, and can only be,
the four Majors in combination. But many, if not most, fans and
pros call every Major a Grand Slam. Common usage is NOT the
standard by which truth is determined, even when practiced
by John McEnroe!

I'm afraid we will have to disagree about both this issue and the
definition of an "excellent post".

Bob

On Sat, Feb 3, 2018 at 06:42 Wendell Eatherly <[log in to unmask]>
wrote:

> On Fri, 2 Feb 2018 23:57:21 -0500, Jon Goldberg <[log in to unmask]>
> wrote:
>
> Jon's excellent post made most of the points I was going to make, but his
> mention of baroque opera brings to mind "V'adore, pupille", where Cesare
> interjects a line before the repeat of the first section of Cleopatra's
> ARIA.
>
> To Jon's question about Baroque purists would object to calling something
> that didn't have the ABA form an aria, I'd guess they wouldn't. Handel
> didn't always observe the ABA form. Examples include Rodelinda's first aria
> and one of Handel's most famous arias, Serse's "Ombra mai fu". Side-note:
> checking the score, I see the tempo marking is "Larghetto", so why do they
> call it the Largo from Serse?
>
> >Let's not get ridiculous. All of the aforementioned examples are arias, by
> form and by
> >their overwhelming nature as solo pieces. It is crazy and a disservice to
> say that a mere
> >interjection of "si" renders an other wise long, vocally showy solo piece
> NOT an aria.
> >Especially when it's always referred to, by singers, conductors, and
> audiences alike, as an
> >aria.
> >
> >In the case of "Ah fors' e lui" - the (possibly original) Ricordi score
> says "scena ed aria."
> >Scena, naturally, would refer to the orchestrally-accompanied recit - and
> then the rest is
> >an aria, regardless of Alfredo's singing.
> >
> >In the Baroque era, "aria" was essentially defined by its A-B-A (da capo)
> form. When the
> >cavatina/cabaletta form started appearing after that, were Baroque purists
> refusing to call
> >such a construct an aria? (Legit question to which I don't know the
> answer.)
>
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