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  • noun

Words related to recitative

a vocal passage of narrative text that a singer delivers with natural rhythms of speech

References in periodicals archive ?
Theorists during the late Baroque period and the Classical period agree that, when 'feminine endings' to a phrase--in recitative and, generally, in lyrical music--are notated with a pair of notes at the same pitch, the first of them accented, the first note must be executed as an appoggiatura (the 'prosodic appoggiatura') in accordance with the verbal accentuation.
He said, 'Studying the opera is a challenge because I did some parts of it before, but now we will add recitatives.
A tenor recitative accompanied by strings is followed by a da capo duet for soprano and bass, and two arias, the first for bass, the second for alto.
The tenor was Stuart Jackson, intensely rhetorical in his opening "Comfort ye" recitative and capable throughout of unleashing monuments of drama, such as his aggressive enunciation of key words such as "break" and "dash" in his final air, "Thou shalt break them with a rod of iron".
The Flash Girl'--sung verses framed by recitative passages - is particularly worthwhile.
Recitative, 2009-10, hung at the Pace Gallery, offers a strangely to-the-point yet endlessly expansive exercise in mark-making and peripatetic viewing.
Following a short recitative, the entire chorus is repeated
But can O'Reilly be expected to tell a recitative from a motet when he doesn't know his loofah from his falafel?
Vinson Cole was a sensible and dramatic one, addressing the audience with warmth in the opening accompanied recitative.
Part I of Messiah foretells the coming of the Lord; from the opening recitative "Comfort ye my people.
The monotone liturgical recitative is a release from normal social relations; there is no need to think of one's next remark, no need to conceal one's true nature, no need to smile.
In November 1999, she gave the world premiere of a newly-discovered Mozart recitative, televised by Channel 4.
The long recitative passages, although beautifully sung by golden-throated City Opera principals, slow the pace.
And even in this setting of 1787 the alterations are slight, and occur only in the second part of the oratorio, where one aria has been cut (Pietro's `Se a librarsi'), another has been recast to include chorus with the soloist (Giovanni's `Dovunque il guardo giro'), and two lines of new recitative have been inserted into a third aria by way of a dramatic contrast before the final reprise of the first stanza of text (Maddalena's `Ai passi eranti').
And in contrast to Krieger's soaring tunes (beautifully orchestrated by veteran Harold Wheeler), Russell's predictable rhymes and earthbound recitative have a blandly sincere, Up With People quality to them.