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A) the Duke, Gilda, and Sieglinde.
B) the Duke, Gilda, Rigoletto, and Maddalena.
C) the Duke, Radamès, and Rigoletto.
D) the Duke, Gilda, and Brangaene.
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A) Romantic tendency for psychological depiction in opera.
B) Romantic tendency toward the macabre and supernatural.
C) Romantic tendency to use smaller orchestras.
D) Romantic tendency to use ancient church modes.
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A) Austria; 1830s
B) Germany; 1820s
C) England; 1830s
D) Italy; 1820s
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A) master of depicting the supernatural in his operas.
B) expert conductor of his works.
C) prolific composer of more than sixty operas.
D) sharp critic of the bel canto style.
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A) the flute plays a flowing melody.
B) the melody rises in the cellos.
C) the melody rises and gently falls back in the violins.
D) the low brasses repeat notes gently.
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A) German Romantic opera.
B) verismo.
C) the bel canto style.
D) the arioso style.
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A) an aria by Rigoletto
B) a duet between the Duke and Rigoletto
C) a duet between Rigoletto and Maddalena
D) a brief recitative and then a vocal quartet
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A) theme and variation form.
B) thematic transformation.
C) ornamentation in the last section of a da capo aria.
D) imitative polyphony.
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A) Verdi never wavered in his commitment to the human voice.
B) Verdi cared most about the dramatic quality of his operas.
C) Verdi's operas still employ secco recitative, though in a bel canto style.
D) The orchestra plays a richer role in Verdi's operas than in those of his predecessors.
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A) Schubert.
B) Beethoven.
C) Berlioz.
D) Mozart.
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A) ensembles; arias
B) recitatives; arias
C) ariosos; arias
D) ensembles; ballets
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A) mother and son
B) wife and husband
C) cousins
D) brother and sister
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A) The Barber of Seville
B) Norma
C) Lucia di Lammermoor
D) Rigoletto
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A) highlights the mood in the clarinets.
B) adds dissonant chords in the orchestra.
C) deepens the mood in the brass.
D) imitates the rhythm of the word with the bassoons.
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