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JOHN CABOT UNIVERSITY

COURSE CODE: "MUS 102"
COURSE NAME: "Italian Opera"
SEMESTER & YEAR: Summer Session II 2016
SYLLABUS

INSTRUCTOR: Thomas Cimarusti
EMAIL: [email protected]
 HOURS: MTWTH 9:00 AM 10:45 AM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES:
OFFICE HOURS: By appointment
COURSE DESCRIPTION:
Opera is perhaps one of Italy's most important cultural innovations, continuing to fascinate the world since its birth over four hundred years ago. The aim of the course is to examine the birth and development of opera in Italy from the late Renaissance to contemporary Italian opera. The inherent problems in the union of music, text, and drama in this complex music form are explored in the solutions that the most important operatic composers have provided. The aim of the course is then not only to understand and appreciate a story set to music, but the different and varied aspects of opera, its creation, and production.
The course explores the history of Italian opera from its birth in the late Renaissance, its development in the 17th century, Italian opera abroad with G.F. Handel and W.A. Mozart, the Belcanto operas, G. Verdi, the Verismo movement, 20th century and contemporary opera. Form and structure in opera, relations between text and music, the world of singers and the characters they portray, historic study of the operatic orchestra, notions of opera production: staging, sets, costumes and the Italian opera house.
SUMMARY OF COURSE CONTENT:

This course is a concentrated study on Italian operatic literature from its beginnings with the Florentine Camerata through the 20th century. The topic will be approached from an interdisciplinary perspective, providing a comprehensive survey of Italian opera as well considering literary sources, historical context, political/social atmosphere that helped shape the genre. Although the course will begin with the formation of the genre in the early 1600’s, special emphasis will be given to nineteenth-century Italian operas, particularly the works of Rossini, Bellini, Donizetti, Verdi, and Puccini. Representative works from these composers are studied in detail, especially in connection with major trends and sub-genres of opera, including favola in musica, intermezzo, opera seria, opera buffa, grand opera, dramma lirico, and verismo). Aside from material presented as lectures, students will be responsible for reading and listening assignments, individual research projects, and in-class presentations. Dr. Cimarusti will lead fieldtrips/excursions to various operas and recitals focusing on operatic literature. Prior musical experience is not necessary.
LEARNING OUTCOMES:

1. Listen to an example of a particular operatic style and genre from within the course time

period and recognize its distinctive characteristics.

2. Describe in broad historical context, likely social function, and probable

performance circumstances for a variety Italian operatic works.

3. Listen, read, speak, and think critically about the relationship between the

different operatic styles and their places in Italian cultural history.
TEXTBOOK:
NONE
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Examinations 50%
Opera Reports 25%
Attendance/Participation 25%

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.
-ATTENDANCE REQUIREMENTS:
ATTENDANCE REQUIREMENTS AND EXAMINATION POLICY
You cannot make-up a major exam (midterm or final) without the permission of the Dean’s Office. The Dean’s Office will grant such permission only when the absence was caused by a serious impediment, such as a documented illness, hospitalization or death in the immediate family (in which you must attend the funeral) or other situations of similar gravity. Absences due to other meaningful conflicts, such as job interviews, family celebrations, travel difficulties, student misunderstandings or personal convenience, will not be excused. Students who will be absent from a major exam must notify the Dean’s Office prior to that exam. Absences from class due to the observance of a religious holiday will normally be excused. Individual students who will have to miss class to observe a religious holiday should notify the instructor by the end of the Add/Drop period to make prior arrangements for making up any work that will be missed. The final exam period runs until ____________
ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.
SCHEDULE

Introduction to Italian Opera

John Cabot University, Summer II 2016

Tentative Schedule

Session Topic Reading Listening/Video

1 Introduction; Defining Opera; Origins,

Aesthetic of sung drama.

N/A N/A

2 Librettists, versification, and poetic

structures

Carter, 1-25. Mozart, Don Giovanni, “Ah, che

mi dici mai; Cosi fan tutte, “Non

v’e’ piu’ tempo amici”

3 The Birth of Opera in Florence; favola in

musica; monody

Carter, 26-40 Monteverdi, Orfeo, “Tu sei

morta”

4 Monteverdi: Coronation di Poppea Carter, 40-66 Video: Coronation di Poppea

5 Defining genres: opera seria; trouser and

castrato roles; da capo forms

Carter, 66-80 Handel, Rinaldo, “Lascia, ch’io

pianga”

6 Handel: Giulio Cesare Carter, 81-107 Video: Giulio Cesare

7 Defining genres: intermezzo, the birth of

opera buffa

TBD Pergolesi, La serva padrona

[Live production in Rome?]

8 Piccini and the rise of opera buffa; the

genius of Mozart; Lorenzo da Ponte

Carter, 109-132 Mozart, Le nozze di figaro, “Non

so piu’ cosa son”

9 Aria forms, finales, musical

charachterization

Carter, 133-150 Video: Mozart, Le nozze di

fiagro

10 The bel canto tradition; Rossini, Bellini,

Donizetti

TBD Rossini, Il barbiere di Siviglia,

“Largo factotum;” Bellini,

Norma, “Casta diva”

11 Opera and Politics; Risorgimento; Verdi Carter, 151- 171 Verdi, Nabucco, “Va pensiero”

12 Musical characterization; monologues

and duets

Carter, 172-183 Verdi, Rigoletto, “Giovanna, ho

dei rimorsi”

13 The operatic ensemble Carter, 184-196 Video: Verdi, Rigoletto

14 Verismo; Mascagni and Leoncavallo TBD Mascagni, Cavalleria rusticana,

“Voi lo sapete;” “Leoncavallo, I

pagliacci, “Vesti la giubba”

15 Puccini and the end of a tradition Carter, 197 – 218 Puccini, La boheme, “Quando

m’e vo”

16 Puccini Masterpiece; redefining verismo Carter, 218-248 Video: Puccini, La boheme

17 FINAL EXAM

Dates of Possible Performances:

Date/Time Composer/Opera Location Ticket Price

July 14, 7:30 Pergolesi/La Serva Padrona Palazzo Doria Pamphilj 35E