Madrigal Comedy and the Broader Choral Context for Early Opera

Abstract

Madrigal comedy is an important genre in the history of Western music. Traditionally,madrigal comedy has been considered a forerunner of opera. More recently, based on information regarding performance traditions and narrative content, some scholars have argued that madrigal comedy is more appropriately considered a choral genre. Madrigal comedy, particularly L’Amfiparnaso by Orazio Vecchi (1550–1605), does have an important place in the development of choral music; however, it remains an important precursor to opera not only because of common origins and Vecchi’s acknowledged influence on early opera composers, but also because of the shared approaches to dramatic story-telling. In this study, I have examined the shared origins of opera and madrigal comedy, and how consideration of these shared origins can help re-contextualize the intersections of these two genres. In support of my argument, I have established a clear link between Orazio Vecchi’s madrigal comedy, L’Amfiparnaso, and the earliest operas, including consideration of the association between the composers involved, their shared connection with the Concerto delle Donne, and their common links to the Este courts. I also have compared musical and dramatic aspects of the two genres, including text treatment, melody, rhythm and harmony, as well as character representation, plot continuity, and chorus function.