The dramatic and musical influences of Commedia dell'Arte on opera

Opera encompasses many art forms within its structure. Even though it stands as an original form on its own, its constituent elements are deeply rooted art forms. When opera emerged in history as 'something new', the audience watching opera was indirectly experiencing forms with thousands of years of history such as music, theater, literature, dance, and mime. All these forms hosted by opera are older than opera itself and were well advanced in their evolutionary journeys by the time opera was born. Each of these forms has numerous sub-genres, whether they are still thriving or have been abandoned. Considering opera's relationship with the forms that constitute it and the history of these forms, it is possible to say that opera clings to the past with multiple branches. Furthermore, if one takes into account that opera, like any other art form, is influenced by the social life, fashion, political landscape, and problems of its time, it can be stated that opera is a complex and multi-layered performing art. For over four hundred years, opera has continually renewed itself both in terms of interpretation and creation. While today's opera singer may seem more fortunate compared to their centuries-old counterpart due to the advantages provided by the modern world, such as easy access to information, advanced vocal techniques, and modern stages, they must contend with a challenge that might be overlooked. In the current state of music history, the opera repertoire is like a very thick book filled with works from different periods and movements, each requiring vastly different musical and theatrical interpretations. Therefore, the mind of a 17th-century opera singer is clearer than that of today's singer. Their interpretation faces fewer obstacles and habits. If a 17th-century singer wanted to delve into the origins of the opera character they were portraying to enrich their interpretation, they would find that the character's ancestors were not far in the past, and perhaps even one of the characters in a Commedia dell'Arte troupe performing in the town square. During the formation of opera and especially in its first centuries, it is known that one of the theatrical forms that influenced opera the most was Commedia dell'Arte. Some operas were created directly under the influence of Commedia dell'Arte characters and scenarios. Performers who want to bring their roles to life on stage and establish a close relationship with them seek to better understand the characters they will portray. At this point, it is very valuable for a performer, especially one facing a lack of material, to connect their character to an ancestral character by establishing a link between an older opera or theatrical piece and the current opera. The diversity of styles and interpretations in our era can obscure the visibility of such connections. Interpreting an opera buffa without regard for its historical connections and confining the character solely within the limits set by the libretto text not only leads the opera singer to fill interpretive gaps with overly individualistic and anachronistic elements, but also makes them feel insecure. This study was conducted with the aim of researching and identifying the influences of Commedia dell'Arte on the opera form in general and on opera characters in particular, to serve as a resource for performers through the identified similarities. In this study, the influences of Commedia dell'Arte on opera were examined using operas from various historical periods as models. The nature, extent, continuity, and reasons for this influence were investigated in an objective and multifaceted manner. To achieve this goal, it was necessary to provide a comprehensive definition of Commedia dell'Arte at the outset of the research. First, the definition of Commedia dell'Arte was provided, clearly distinguishing it from other theatrical forms of its time, and theories regarding its origins were addressed. In the later stages of the study, it became necessary to consider the plausibility of each of these theories. In the second phase of the examination, which focused solely on Commedia dell'Arte, the role and function it served in the history of drama were discussed, and its structural characteristics were analyzed. The study highlighted the organized manner in which Commedia dell'Arte presented scenarios and improvisational elements compared to similar theatrical forms that preceded it. The main characters of Commedia dell'Arte were examined under three categories: Old men, servants, and lovers. These characters were introduced with references to their costumes and origins, and presented with their illustrations made by contemporary painters. Given that Commedia dell'Arte was actively performed for two and a half centuries, it was acknowledged that its characters evolved over time. An effort was made to ensure a diverse range of sources that could reflect the periodical differences of the characters under scrutiny. Additionally, traits defining a Commedia dell'Arte character, such as temperament, physical deformities, skills, relationships with other characters, and functions within the scenario, were explored as thoroughly as possible within the available sources. The reason for this in-depth investigation into the characteristic features was to facilitate the establishment of clear connections and parallels between Commedia dell'Arte characters and the relatively more complex opera characters in the subsequent stages of the study. The study also touched upon the historical transformation of Commedia dell'Arte and the reformative impacts of Carlo Goldoni and Carlo Gozzi on this transformation. The focus of the second part of the study is on the influences of Commedia dell'Arte on the opera form, which emerged about fifty years after Commedia dell'Arte. This section begins by emphasizing the relationship between Commedia dell'Arte and music, highlighting its musical aspects even though it is not subject to notation. It is noted that Commedia dell'Arte characters' ability to express spontaneous emotions and personality traits through various tonal colors played a role in the musical structure of opera, particularly in the formation of recitative. Following this, the section discusses madrigal comedies, considered the forerunners of opera, which emerged as a result of an experiment conducted on Commedia dell'Arte and madrigal. The influences of Commedia dell'Arte on opera are examined following a chronological hierarchy, and care was taken to select opera types that trace their lineage back to Commedia dell'Arte. Thus, the examination was conducted under the headings of comic opera and opera buffa. Following this examination, eight operas were analyzed, investigating the relationships between their characters and plots with Commedia dell'Arte from various perspectives. In line with another finding obtained from the literature review during the study process, it has been understood that many operas written during the period when Commedia dell'Arte was an active and popular genre, namely the 17th century, exhibit as much Commedia dell'Arte influence as the operas examined in the study. However, many of these operas are not performed on contemporary stages. Therefore, in selecting the works to be addressed in the study, operas that are more frequently staged and consequently more frequently studied have been preferred. It was determined that the influence of Commedia dell'Arte was evident in different aspects of the examined operas, and consequently, the study employed different tools for each opera. For example, in Le Nozze di Figaro, the ancestors of the characters are clearly seen as Commedia dell'Arte characters when examining the origins of the work. Therefore, the analysis was conducted by examining the characters individually, analyzing which Commedia dell'Arte characters' traits they most reflect. Meanwhile, in Ariadne auf Naxos, since a Commedia dell'Arte troupe is presented on stage with all its authenticity, down to the names of the characters, the study has progressed towards identifying how and for what purpose the Commedia dell'Arte element is used in Ariadne auf Naxos. At the end of the study, relationships between the Commedia dell'Arte tradition and the operas examined were observed, sometimes clear and understandable, and sometimes intricate and open to interpretation. It was understood that, contrary to what was initially thought, these relationships were not limited to just character origins or plot similarities. It was observed that elements of Commedia dell'Arte, such as lazzi and improvisation, which are almost impossible to transfer to the opera stage, were sometimes simulated through the language of opera. It was concluded that all these similarities discovered as a result of the research have the potential to pave the way for further studies.