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Search references for RECITATIVE. Phrases containing RECITATIVE
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Ordinary speech-like singing in opera, cantata, mass or oratorio
Recitative (/ˌrɛsɪtəˈtiːv/, also known by its Italian name recitativo ([retʃitaˈtiːvo]), is a style of delivery (much used in operas, oratorios, and cantatas)
Recitative
Church cantata by Johann Sebastian Bach
closing chorale are sung by the choir, framing a sequence of alternating recitatives and arias. Bach scored the cantata festively for four vocal soloists
Gott fähret auf mit Jauchzen, BWV 43
Gott_fähret_auf_mit_Jauchzen,_BWV_43
1727 sacred oratorio by Johann Sebastian Bach
tenor Evangelist in secco recitative accompanied only by continuo. Soloists sing the words of various characters, also in recitative; in addition to Jesus
St_Matthew_Passion
Oratorio by Joseph Haydn
in mind." In the final form of the oratorio, the text is structured as recitative passages of the text of Genesis, often set to minimal accompaniment, interspersed
The_Creation_(Haydn)
Soprano aria from Mozart's opera "Le nozze di Figaro"
act, preceded by a recitative, "E Susanna non vien!" (Susanna's not come!). Alone on stage, the Countess regrets in the recitative that her husband, Count
Dove_sono
Church cantata by Johann Sebastian Bach
strings and basso continuo. Unusually, all four oboes play together in two recitatives. Bach wrote the cantata in his second year in Leipzig for the Sunday
Sie werden euch in den Bann tun, BWV 183
Sie_werden_euch_in_den_Bann_tun,_BWV_183
1883 opera by Léo Delibes
No. 5 – Recitative & Strophes: "Les fleurs me paraissent plus belles" (The flowers appear more beautiful to me) (Lakmé) No. 5b – Recitative: "Ah! Mallika
Lakmé
Musical ode by George Frideric Handel
Lute, Lyrichord and other Instruments" HWV 294 for performance after the recitative Timotheus, plac'd on high in Part I; a concerto grosso in C major in 4
Alexander's_Feast_(Handel)
Art form combining sung text and musical score in a theatrical setting
comique. In traditional number opera, singers employ two styles of singing: recitative, a speech-inflected style, and self-contained arias. The 19th century
Opera
Expressionist vocal techniques between singing and speaking
used interchangeably, Sprechgesang is directly related to the operatic recitative manner of singing (in which pitches are sung, but the articulation is
Sprechgesang
Style of church music formerly used in Mass
style is also known as liturgical recitative, though it differs in some important ways from other types of recitative. In the medieval church, the whole
Accentus
Category of classical solo vocal piece
usually occurring in an opera or oratorio, falling somewhere between recitative and aria in style. Literally, arioso means airy. The term arose in the
Arioso
Musical composition by J.S. Bach
reconstructions are attempted. However, since Bach's recitative is lost, most reconstructions use the recitatives composed for a Markus-Passion attributed to Reinhard
St_Mark_Passion,_BWV_247
1744 opera-oratorio by Handel
Telemann. Noteworthy in the score are the number and quality of accompanied recitatives (a characteristic it shares with Il Pompeo), and the sheer variety of
Semele_(Handel)
Oratorio by Johann Sebastian Bach (1729)
Apostles. The bible narration is compiled from multiple sources: the first recitative of the Evangelist (movement 2) is from Luke 24 (Luke 24:50–51), the second
Lobet Gott in seinen Reichen, BWV 11
Lobet_Gott_in_seinen_Reichen,_BWV_11
Oratorio by Mendelssohn
the Prophets) 8. Recitative & Chorus — Sie aber stürmten auf ihn ein; Steiniget ihn! (Then they ran upon him; Stone him!) 9. Recitative & Chorale — Und
St._Paul_(oratorio)
Oratorio by George Frideric Handel
"Accompagnato" is a recitative accompanied by the orchestra, rather than by continuo instruments only, as in the passages marked "recitative".) Arrival of the
Solomon_(Handel)
1741 sacred oratorio by Handel
collection of individual numbers or "movements" which take the form of recitatives, arias and choruses. There are two instrumental numbers, the opening
Messiah_(Handel)
St Mark Passion
betreten Recitative (Evangelist, Jesus): Und nahm zu sich Petrus und Jakobus und Johannes Chorale: Was mein Gott will, das g'scheh allzeit Recitative (Evangelist
St Mark Passion (attributed to Keiser)
St_Mark_Passion_(attributed_to_Keiser)
1959 studio album by Carlo Maria Giulini
Lasciala, indegno! 2:07 1-5 Act 1, Scene 1: Recitative: Leporello, ove sei? 0:28 1-6 Act 1, Scene 1: Recitative: Ah del padre in periglio 2:36 1-7 Act 1
Don Giovanni (Giulini recording)
Don_Giovanni_(Giulini_recording)
Church cantata by Johann Sebastian Bach
Bach structured the cantata in five movements, alternating arias and recitatives. He scored the work for an alto soloist and a small ensemble of oboe
Vergnügte Ruh, beliebte Seelenlust, BWV 170
Vergnügte_Ruh,_beliebte_Seelenlust,_BWV_170
1771 oratorio by W. A. Mozart
continuo. First part Overtura Recitative: Popoli di Betulia (Ozia) Aria #1: D'ogni colpa la colpa maggiore (Ozia) Recitative: E in che sperar? (Cabri, Amital)
Betulia_liberata
Cantata by J.S. Bach
flutes, oboes and strings. Choral movements frame a series of alternating recitatives and arias. Bach led the first performance with the Collegium Musicum
Tönet, ihr Pauken! Erschallet, Trompeten! BWV 214
Tönet,_ihr_Pauken!_Erschallet,_Trompeten!_BWV_214
Oratorio by George Frideric Handel
recitative) Awful pleasing being, say (Alto aria) Joshua, I come commission'd (Tenor, Soprano recitative) Leader of Israel (Tenor, Soprano recitative)
Joshua_(Handel)
Chorale cantata by Johann Sebastian Bach
author supplied additional poetry for the inner movements as sequences of recitative and duet, based on the love poetry of the Song of Songs. Bach structured
Wachet auf, ruft uns die Stimme, BWV 140
Wachet_auf,_ruft_uns_die_Stimme,_BWV_140
Keyboard work by Johann Sebastian Bach
leading, and recitative-like writing. Its main sections include an opening passagework section, an arpeggiated and modulatory passage, a recitative, and a coda
Chromatic Fantasia and Fugue, BWV 903
Chromatic_Fantasia_and_Fugue,_BWV_903
German composer
lebendig" Recitative: "Du hast gesiegt" Aria: "Soll ich vor dir, Herr" Duet: "So sind wir nun mit ihm begraben" Aria: "Geerbte Schuld" Recitative: "Nimm
Johann_Ludwig_Bach
1750 oratorio/opera by Handel
"Accompagnato" is a recitative accompanied by the orchestra, rather than by continuo instruments only, as in the passages marked "recitative".) The 1996 production
Theodora_(Handel)
Opera by P. D. Q. Bach
Introduction: "Found a peanut!" 5. Recitative: "Ah, dear husband" Aria: "Stay with me" 6. Recitative: "Suzanna" 7. Recitative: "Dog!" Aria: "Perfidy,
The_Abduction_of_Figaro
Opera by Nicola Porpora about the cyclops Polyphemus
for Galatea. Instead of a repetition of the first stanza, Rolli has a recitative between Galatea and Polifemo before commencing the second verse. Rolli
Polifemo_(opera)
Secular cantata by Johann Sebastian Bach
respectively. Bach set the words in eight movements consisting of alternating recitatives and arias, culminating in a choral finale. Most movements are duets of
Die Zeit, die Tag und Jahre macht, BWV 134a
Die_Zeit,_die_Tag_und_Jahre_macht,_BWV_134a
Chorale cantata by Johann Sebastian Bach
expanding the third by adding text for a recitative. He paraphrased the other stanzas for two arias and another recitative. Bach structured the cantata in six
Erhalt uns, Herr, bei deinem Wort, BWV 126
Erhalt_uns,_Herr,_bei_deinem_Wort,_BWV_126
Oratorio by Ludwig van Beethoven
Adagio) in E♭ minor – Recitative „Jehova, du, mein Vater!“ – Aria (Allegro) „Meine Seele ist erschüttert!“ in c minor 2. Recitative „Erzittre, Erde, Jehovahs
Christ on the Mount of Olives (Beethoven)
Christ_on_the_Mount_of_Olives_(Beethoven)
1734 oratorio by Johann Sebastian Bach
to the recitatives, which knit together the oratorio into a coherent whole. In particular, Bach made particularly effective use of recitative when combining
Christmas_Oratorio
Sacred motet by Antonio Vivaldi
(Aria; Recitative; Aria), followed by a concluding Alleluia. Scholar and Vivaldi expert Michael Talbot wrote that it has "a ravishing central recitative."
Nulla_in_mundo_pax_sincera
Secular cantata by Johann Sebastian Bach
major) Duet recitative: Nu, Mieke, gib dein Guschel immer her (A major) Aria (soprano): Ach, es schmeckt doch gar zu gut (A major) Recitative (bass): Der
Mer hahn en neue Oberkeet, BWV 212
Mer_hahn_en_neue_Oberkeet,_BWV_212
1746 oratorio by George Frideric Handel
ye afflicted children Soprano, Alto, Tenor, Bass Largo 4/4 C minor 1 3 Recitative Well may your sorrows Israelitish man (Tenor) 4/4 1 4 Duet From this dread
Judas_Maccabaeus_(Handel)
Musical piece for a single voice as part of a larger work
melodic, and structured aria differed from the speech-like (parlando) recitative – the latter tending to carry the story-line, the former used to convey
Aria
Church cantata by Johann Sebastian Bach
chorale fantasia, is followed by a succession of arias alternating with recitatives, leading to a four-part closing chorale. The cantata is scored for three
Christ unser Herr zum Jordan kam, BWV 7
Christ_unser_Herr_zum_Jordan_kam,_BWV_7
Role of a singer
of the Four Evangelists of the Bible, translated by Martin Luther, in recitative secco. The part appears in the works St John Passion, St Matthew Passion
Evangelist_(Bach)
Church cantata by Johann Sebastian Bach
added several recitatives is anonymous. Bach began the cantata with a chorus for the full orchestra, followed by alternating recitatives and arias with
Herz und Mund und Tat und Leben, BWV 147
Herz_und_Mund_und_Tat_und_Leben,_BWV_147
Church cantata by Johann Sebastian Bach
Gott, dich loben wir" (Lord God, we praise you). The following pair of recitative and aria deal with thanks for past gifts, while a further pair deals with
Herr Gott, dich loben wir, BWV 16
Herr_Gott,_dich_loben_wir,_BWV_16
Opera by P. D. Q. Bach
Donna Ribalda break character in the middle of a recitative to hold a conversation (still in recitative) about their singing careers. At a subsequent point
The_Stoned_Guest
Musical composition by Georg Philipp Telemann
Recitative Ich höre ... Aria-Round Song Glück zu Recitative Mit was für unverrhofften Chören Aria (Hammonia) Mit euch, ihr holden beiden Recitative Der
Admiralitätsmusik
Church cantata by Johann Sebastian Bach
chorale. The first group features first an aria, then a recitative, the second first a recitative, then an aria. The third movement is the second stanza
Meine Seufzer, meine Tränen, BWV 13
Meine_Seufzer,_meine_Tränen,_BWV_13
Style of Italian opera
termed a sinfonia in the period. Following that would then be a series of recitatives in verso sciolto (freely alternating unrhymed seven- and eleven-syllable
Opera_seria
1737 opera by Jean-Philippe Rameau
tomb with a Chorus of Spartans singing "Que tout gemisse", followed by a recitative between Telaire and Phoebe in which the former is grieving the loss of
Castor_et_Pollux
1913 song by Frederic Weatherly
with a spoken recitative, before singing the two verses. He repeated the second half of the first verse the second time around. The recitative goes: The Time
Danny_Boy
Church cantata by Johann Sebastian Bach
librettist paraphrased the content of ten inner stanzas to alternating recitatives and arias. Bach scored the cantata for a chamber ensemble of four vocal
Es ist das Heil uns kommen her, BWV 9
Es_ist_das_Heil_uns_kommen_her,_BWV_9
Oratorio by Felix Mendelssohn
movements are simple oratorio forms such as recitative and aria, others explore hybrid combinations, such as recitative with choir, for dramatic effect. The
Elijah_(oratorio)
Motet for solo voice by Antonio Vivaldi
surrounding a central recitative. One (RV 638) has a central aria flanked by two recitatives; another (RV 640) has just two movements – recitative then aria – and
Vivaldi's_introduzioni
Russian musician (born 1972)
SFSR, Soviet Union Genres Turbo chanson Rock Russian chanson Rap Experimental music Electronic music Recitative Intelligent dance music Performance art
Stanislav_Baretsky
Form of song
liturgical recitative in Gregorian chant Problems playing this file? See media help. Gregorian chants fall into two broad categories of melody: recitatives and
Gregorian_chant
Church cantata by Johann Sebastian Bach
arias, are parodied from the secular work. Bach recomposed the five recitatives, and added a chorale as conclusion of the first half of the cantata.
Freue dich, erlöste Schar, BWV 30
Freue_dich,_erlöste_Schar,_BWV_30
Style of rhythm and blues music
vocals, and often featuring, in the bridge, a melodramatically heartfelt recitative addressed to the beloved. Harmonic singing of nonsense syllables (such
Doo-wop
1779 concert aria by W. A. Mozart
"Popoli di Tessaglia! – Io non chiedo, eterni Dei" (K. 316/300b) is a recitative and aria for soprano and orchestra that Wolfgang Amadeus Mozart wrote
Popoli_di_Tessaglia!
1959 American musical film
with his wife Dorothy. The film's screenplay, which turned the operatic recitatives into spoken dialogue, was very closely based on the opera and was written
Porgy_and_Bess_(film)
Church cantata by Johann Sebastian Bach
transformed the themes of the inner stanzas into a sequence of alternating recitatives and arias. Wie schön leuchtet der Morgenstern is the last chorale cantata
Wie schön leuchtet der Morgenstern, BWV 1
Wie_schön_leuchtet_der_Morgenstern,_BWV_1
1762 opera by Christoph Willibald Gluck
to the genre of French opera, particularly in its use of accompanied recitative and a general absence of vocal virtuosity. Indeed, twelve years after
Orfeo_ed_Euridice
Cantata composed by Ludwig van Beethoven
steht!" Recitative "O seht sie nah' und näher treten!" Aria with chorus "O Himmel, welch' Entzücken!" Recitative "Das Auge schaut" Recitative and quartet
Der_glorreiche_Augenblick
1970 studio album by P.D.Q. Bach
I'm lost" Recitative: "Boy!" Aria: "Now is the season" Recitative: "Gesundheit!" Duet: "Woe" Recitative: "Hark!" Aria: "Look at me" Recitative: "That's
The_Stoned_Guest_(album)
Church cantata by Johann Sebastian Bach
librettist paraphrased the inner stanzas as recitatives and arias, quoting one stanza of the hymn within a recitative. Bach scored the cantata for four vocal
Schmücke dich, o liebe Seele, BWV 180
Schmücke_dich,_o_liebe_Seele,_BWV_180
he convinced Cromwell's government that it was merely a production of "recitative music" instead of a new type of dramatic performance. This opera's debut
The_Siege_of_Rhodes
1728 oratorio by J. S. Bach
followed Jesus (soprano and alto). The middle movements are alternating recitatives in conversation, and arias of contemplation. The final movement is a
Easter_Oratorio
Musical or opera with little or no spoken dialogue
the story. The story is told through a combination of aria, arioso and recitative. Early versions of this include the Italian genre of opera buffa, a light-hearted
Sung-through
Oratorio by George Handel and Charles Jennens
Handel composed for London, focused overwhelmingly on solo arias and recitatives for the star singers and contained very little else; they did not feature
Saul_(Handel)
Church cantata by Johann Sebastian Bach
movements, beginning with an aria for tenor, followed by two pairs of recitatives and arias, one for bass and the other for the duet of soprano and alto
Nur_jedem_das_Seine,_BWV_163
Plucked-string keyboard instrument
musical scene (except in opera, where it continued to be used to accompany recitative). In the 20th century, it made a resurgence, being used in historically
Harpsichord
questa sera grandissima" - "Una domina? Una nipote?" (Don Anchise) arie & recitative for bass and orchestra (1775?), for P. Anfossi's "La finta giardiniera"
List of compositions by Antonio Salieri
List_of_compositions_by_Antonio_Salieri
Cantata by Johann Sebastian Bach
tenor with continuo) Recitative: Ich liebe dich zwar noch! (in B flat major/C major, for soprano I and tenor with continuo) Recitative: Ich, der ich sonst
Was mir behagt, ist nur die muntre Jagd, BWV 208
Was_mir_behagt,_ist_nur_die_muntre_Jagd,_BWV_208
by the different forms that are used for musical expression (arias, recitatives and choruses). Bach's large choral composition was written to present
St_Matthew_Passion_structure
Chorale cantata by J.S. Bach
Gottes" (Only consider, child of God) as a secco recitative ending in an arioso, the typical style of recitatives during the Weimar period. It adopts canonic
Ein feste Burg ist unser Gott, BWV 80
Ein_feste_Burg_ist_unser_Gott,_BWV_80
1791 opera by Wolfgang Amadeus Mozart
Tamino that Pamina will be his wife if he rescues her from Sarastro (Recitative: "O zittre nicht, mein lieber Sohn" / Oh, tremble not, my dear son! –
The_Magic_Flute
1724 opera by George Frideric Handel
Francesca Cuzzoni respectively. Handel composed eight arias and two recitatives accompagnati for each singer, thus making full use of their vocal capabilities
Giulio_Cesare
Suites of orchestral music
Suite is directly inspired by Bizet's opera. Guiraud also wrote the recitatives for Carmen, and compiled the second of the two suites from Bizet's L'Arlésienne
Carmen_Suites_(Bizet/Guiraud)
Opera from Marco de Gagliano
La Dafne (Daphne) is an early Italian opera, written in 1608 by the Italian composer Marco da Gagliano from a libretto by Ottavio Rinuccini. It is described
La_Dafne
Song
Billis gives Nurse Nellie Forbush her laundry. The song also has a sung recitative between the verses and the Chorus. A comic version of this song was performed
There_Is_Nothing_Like_a_Dame
1639 opera by Claudio Monteverdi
fashionable forms such as arioso, duet and ensemble alongside the older-style recitative. By using a variety of musical styles, Monteverdi is able to express the
Il_ritorno_d'Ulisse_in_patria
Italian opera term
expressive than speech, but not as melodious as song. It is a dramatic recitative style of the early Baroque era in which melodies move freely over a foundation
Stile_rappresentativo
Church cantata by Johann Sebastian Bach
fugue theme is the perfect illustration of the heroic struggle". The bass recitative in E minor describes the importance of the victory over Satan, but exudes
Es erhub sich ein Streit, BWV 19
Es_erhub_sich_ein_Streit,_BWV_19
Aria from the opera "Aida" by Giuseppe Verdi
Sung by Enrico Caruso Recitative and aria With orchestra Aria With piano accompaniment Problems playing these files? See media help. "Celeste Aida" ("Heavenly
Celeste_Aida
Church cantata by Johann Sebastian Bach
himself. Bach structured the work in five movements, alternating arias and recitatives, and a closing chorale. The scoring requires only a small ensemble of
Ich bin vergnügt mit meinem Glücke, BWV 84
Ich_bin_vergnügt_mit_meinem_Glücke,_BWV_84
1711 opera by George Frideric Handel
of Italian verse, accurate declamation and flexible harmonic rhythm in recitative, ... drawing the necessary distinction between vocal and instrumental
Rinaldo_(opera)
Church cantata by J.S. Bach
voyage. Bach structured it in five movements, alternating arias and recitatives for a bass soloist, and closing with a four-part chorale. He scored the
Ich will den Kreuzstab gerne tragen, BWV 56
Ich_will_den_Kreuzstab_gerne_tragen,_BWV_56
Opera by Antonio Vivaldi
Act Scene Recitative/Aria Characters Act 1 Scene 1 Recitative: Prence Lo so: vi devo Bajazet, Andronico Aria: Del destin non dee lagnarsi Bajazet Scene
Bajazet_(opera)
Church cantata by Johann Sebastian Bach
opening chorus a verse from Psalm 50 (Psalms 50:23) and for the first recitative in Part II verses 15 and 16 from the gospel. He alludes to the Bible several
Wer Dank opfert, der preiset mich, BWV 17
Wer_Dank_opfert,_der_preiset_mich,_BWV_17
Vocal composition with an instrumental accompaniment
music. A cantata consisted first of a declamatory narrative or scene in recitative, held together by a primitive aria repeated at intervals. Fine examples
Cantata
Operas in Italy or in the Italian language
heightened form of natural speech, dramatic recitative supported by instrumental string music. Recitative thus preceded the development of arias, though
Italian_opera
1868 opera by Ambroise Thomas
added between the choral introduction of the Mad Scene and Ophélie's recitative and aria. In 1863 the director of the Opéra, Émile Perrin, wrote in a
Hamlet_(Thomas)
Musical work by Edward Elgar
first movement is in ternary form with an introduction. It opens with a recitative for the solo cello, immediately followed by a short answer from the clarinets
Cello_Concerto_(Elgar)
Solo church cantata by J. S. Bach
general topic of redemption. The librettist wrote a series of alternating recitatives and arias, and included as the sixth movement (of eight) the third stanza
Mein Herze schwimmt im Blut, BWV 199
Mein_Herze_schwimmt_im_Blut,_BWV_199
Cantata by Johann Sebastian Bach
bass arioso, repeats the ascending scalar motif of the chorus. The tenor recitative is accompanied by sustained chordal strings and concludes on a major harmony
Gottlob! nun geht das Jahr zu Ende, BWV 28
Gottlob!_nun_geht_das_Jahr_zu_Ende,_BWV_28
Church cantata by Johann Sebastian Bach
for alto, accompanied by two flutes and muted strings, is framed by recitatives, while the two outer movements are performed by the chorus and a festive
O ewiges Feuer, o Ursprung der Liebe, BWV 34
O_ewiges_Feuer,_o_Ursprung_der_Liebe,_BWV_34
1964 film by Jacques Demy
Cherbourg, separated by circumstance. The film's dialogue is entirely sung as recitative, including casual conversation, and is sung-through like some operas and
The_Umbrellas_of_Cherbourg
German operatic soprano (born 1938)
"Popoli di Tessaglia!", K. 316, recitative and aria for soprano and orchestra "Crudele? – Non mi dir, bell idol mio", recitative and aria for Donna Anna from
Edda_Moser
Paranormal phenomenon involving unnatural foreign language ability
alleged instances of xenoglossy. Two types of xenoglossy are distinguished. Recitative xenoglossy is the use of an unacquired language incomprehensibly, while
Xenoglossy
Oratorio by Georg Friedrich Händel
during — Good Friday and Easter Sunday, with the action carried forward in recitative, and exploration of character and delineation of mood taking place in
La_resurrezione
Chorale cantata by Johann Sebastian Bach
unchanged, while the other stanzas were paraphrased into alternating recitatives and arias by an unknown librettist. The cantata is festively scored for
Herr Gott, dich loben alle wir, BWV 130
Herr_Gott,_dich_loben_alle_wir,_BWV_130
Jewish musical style
musical style or tradition of a community, particularly the chant used for recitative prayers such as the Amidah. This is distinct from textual nusach, the
Nusach_(Jewish_music)
2022 single by Lil Yachty
Lil Yachty sings the lyric in "a manner somewhere between an operatic recitative and singing through a fan". Prior to the release of "Poland", Yachty previously
Poland_(song)
RECITATIVE
RECITATIVE
RECITATIVE
RECITATIVE
Surname or Lastname
English
English : variant of Garrett 1.German : from the Germanic personal name Gerwald, composed of the elements gÄr, gÄ“r ‘spear’, ‘lance’ + wald- ‘rule’.
Boy/Male
Arabic Muslim
Lucky.
Girl/Female
Spanish
Hyacinth.
Girl/Female
Bengali, Hindu, Indian, Kannada, Malayalam, Marathi, Sindhi, Telugu
Famous; Popular
Boy/Male
Tamil
Sri Maha Vishnu
Girl/Female
Anglo Saxon Swedish
Joyous.
Surname or Lastname
English
English : variant spelling of Birks.
Girl/Female
Indian
Speaker of truth
Male
English
Variant spelling of English unisex Kelsey, KELCEY means "ship-victory."
Boy/Male
Tamil
RECITATIVE
RECITATIVE
RECITATIVE
RECITATIVE
RECITATIVE
a.
Of or pertaining to recitation; intended for musical recitation or declamation; in the style or manner of recitative.
a. & adv.
Speaking; in a speaking or declamatory manner; to be sung or played in the style of a recitative.
n.
A more or less dramatic text or poem, founded on some Scripture nerrative, or great divine event, elaborately set to music, in recitative, arias, grand choruses, etc., to be sung with an orchestral accompaniment, but without action, scenery, or costume, although the oratorio grew out of the Mysteries and the Miracle and Passion plays, which were acted.
n.
A piece of melody; a song or tune, -- as opposed to recitative or musical declamation.
n.
A poem set to music; a musical composition comprising choruses, solos, interludes, etc., arranged in a somewhat dramatic manner; originally, a composition for a single noise, consisting of both recitative and melody.
n.
Recitative.
n.
An accompanied dramatic recitative, interspersed with passages of melody, or followed by a full aria.
n.
A species of musical recitation in which the words are delivered in a manner resembling that of ordinary declamation; also, a piece of music intended for such recitation; -- opposed to melisma.
n.
A drama, either tragic or comic, of which music forms an essential part; a drama wholly or mostly sung, consisting of recitative, arials, choruses, duets, trios, etc., with orchestral accompaniment, preludes, and interludes, together with appropriate costumes, scenery, and action; a lyric drama.