The object of recitative.
Defects of the recitative.
What it can do.
An example from Mozart.
In both forms recitative is the vehicle for promoting the action of the play, preparing its incidents, and paving the way for the situations and emotional states which are exploited, promulgated, and dwelt upon in the set music pieces. Its purpose is to maintain the play in an artificial atmosphere, so that the transition from dialogue to song may not be so abrupt as to disturb the mood of the listener. Of all the factors in an opera, the dry recitative is the most monotonous. It is not music, but speech about to break into music. Unless one is familiar with Italian and desirous of following the conversation, which we have been often told is not necessary to the enjoyment of an opera, its everlasting use of stereotyped falls and intervallic turns, coupled with the strumming of arpeggioed cadences on the pianoforte (or worse, double-bass and violoncello), makes it insufferably wearisome to the listener. Its expression is fleeting—only for the moment. It lacks the sustained tones and structural symmetry essential to melody, and therefore it cannot sustain a mood. It makes efficient use of only one of the fundamental factors of vocal music—variety of pitch—and that in a rudimentary way. It is specifically a product of the Italian language, and best adapted to comedy in that language. Spoken with the vivacity native to it in the drama, dry recitative is an impossibility in English. It is only in the more measured and sober gait proper to oratorio that we can listen to it in the vernacular without thought of incongruity. Yet it may be made most admirably to preserve the characteristics of conversation, and even illustrate Spencer's theory of the origin of music. Witness the following brief example from "Don Giovanni," in which the vivacity of the master is admirably contrasted with the lumpishness of his servant:
Its characteristics.
Of course it is left to the intelligence and taste of the singers to bring out the effects in a recitative, but in this specimen it ought to be noted how sluggishly the disgruntled Leporello replies to the brisk question of Don Giovanni, how correct is the rhetorical pause in "you, or the old one?" and the greater sobriety which comes over the manner of the Don as he thinks of the murder just committed, and replies, "the old one."
Recitative of some sort necessary.