Aria

This article explains the vocal piece aria; for other meanings, see Aria (disambiguation).

An aria (Italian aria = 'way', 'air'; this in turn from Latin aer or ancient Greek ἀήρ = 'air') is a solo vocal piece in classical music. An accompanying instrumental accompaniment can range from pure continuo accompaniment with only a lute or harpsichord, to a small ensemble with one or more solo instruments, to a large orchestra.

Most often, an aria is part of a larger work such as an opera, cantata, or oratorio. However, there are also individual compositions, such as the concert aria.

The aria conveys the feelings and moods, the so-called affect, of a particular moment, i.e. normally no action takes place, in contrast to the recitative. A wide variety of feelings can be expressed, such as love, joy, anger, desire for revenge, indignation, fear, doubt, etc. In baroque opera, as early as the 17th century, certain types were also created depending on the content, such as the stormy aria - in the text often with comparisons such as a stormy sea or a sinking ship - the incantation aria, seduction aria, slumber aria, farewell aria, toilet aria - the latter sung by a woman who makes herself beautiful and adorns herself in front of her mirror. Also very popular were arias imitating the songs of birds.

Compared to the recitative of the recitative, the voice in an aria is treated in a purely lyrical and melodic manner (melismatic), and especially in the bel canto era also often ornate and ornate. The accompaniment can also be melodic and richly ornamented. An aria often contains repetitions in both text and melody.

If a piece is less extensive, the affect more moderate, it is also called an ariette, a "little aria".

In an 18th-century opera seria, a prima donna or primo uomo (usually a castrato) was entitled to at least five arias - each aria of a different affect or character - the seconda donna and secondo uomo to three arias, and minor supporting roles to only one or two, or no aria at all.

Types

There are different types of arias:

  • The da capo aria, in which the first verse is repeated.
  • The Cavatine is a simple, songlike aria.
  • The cabaletta is a monophonic aria or the last verse of a cavatina.
  • A bravura aria is a difficult aria aimed at virtuoso effect.
  • The first aria of an opera character is called an entrance aria. It usually serves to introduce the character. Examples of this are the aria Der Vogelfänger bin ich ja of Papageno from the opera Die Zauberflöte or the aria Durch die Wälder, durch die Auen of Max from Der Freischütz.
  • At the end of the scene, there is also the so-called exit aria, sometimes connected with the death of the character.

Term differentiation

In contrast to the affective aria is the recitative, which is intended to advance the plot. It usually contains no repetitions, and its accompaniment is simpler than that of an aria. Above all, however, the recitative is characterized by a chant that contrasts with the lyricism of an aria.

Within a recitative, short, more melodious, aria-like sections may be encountered; these are called arioso.

Very often an aria is preceded by a recitative which already prepares the aria in terms of content, i.e. the sequence: recitative - aria. This is especially true in operas, oratorios and cantatas, but also in concert arias.

An aria differs from vocal pieces for several voices, which are called duets, tercets, quartets, etc., depending on the number of voices involved. In an opera there are also pieces with even more vocal parts, sometimes even with a chorus, the overriding term for which is: ensemble.

In contrast to the aria, the song is usually simpler both formally, and especially vocally (or singing-wise). However, the boundaries are fluid. For example, the demands on expressive composition can be considerable in the so-called art song; however, this is usually kept intimate in terms of content and instrumentation.


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