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Five Quick and Easy Steps to Learning Recitative

Recitative is a form of music written as spoken speech. It is found in the operas of Purcell, Mozart and even Stravinsky, and in the church music of Bach and Handel.

Many young singers I work with see recitative in opera as filler between important parts and tend to gloss over it to get to meaty arias or duets. But it’s usually there to move the plot forward and can be a highly emotional experience.

Recitative can cause some fear for a young (and even experienced) singer, as its rhythmic and melodic structure often differs from the surrounding music. Singers are musicians at heart, and the temptation is to start with a melody and throw in lyrics somehow. But in reality, it takes longer to do, and you make more mistakes that are difficult to undo.

Here are five easy steps I use in my studio to help singers read, understand and remember recitative. An example Italian recitative comes from Come Scoglio, Fiordiligi’s aria from Mozart’s Cosi Fan Tutte. You can see the full vocal score online at the excellent Indiana University music library.

1. In whatever language it is written, start with the words. Read them out loud, listening for the exact vowels and looking for odd pronunciations or unusual letter strings. In Italian, several words are often strung together, resulting in three or four vowels in a row – make sure you know and can pronounce them all. “Temerari, sortite fuori di questo loco” [If you have a word-for-word translation, use it now only to get the flavour of the emotions you are portraying: “You reckless man, leave here immediately”]

2. Now read the words aloud again, but this time emphasize each syllable that moves in pitch. This may seem a bit unmusical, but it is the most important part of the whole process. This will allow you to discover in which word pitch movements actually occur. Even if you don’t sing yet, your brain will already learn the structure of each phrase. “Te-MEra-RI, SORti-TE FUOri di quesTO LO-CO

3. Now switch to the melody and hum or “ng” through it. See/hear/feel the architecture or shape and tonality of the expression. If you can’t play the piano or put chords under what you sing, don’t worry – this is enough to understand the form. [If you do play the piano or can think harmonically, notice where the tonality or chord changes and emphasise that too].

4. Now put the words and melody together, taking time to highlight the words where the sound moves. Again, this helps pinpoint where things change (as opposed to where they stay on the same note).

5. Finally, look for long notes in each sentence. Most classical recitatives are written in quavers (eighth notes), so look out for crotchets (quarter notes) or minims (half notes) and be sure to include them. Long notes will give you the rhythmic structure of the composer’s sentence. wants In this example, the first syllable of Temerary is the longest note in the phrase. [You don’t need to pay too much attention to long notes at the ends of phrases – they are often put there by editors trying to fill the bar].

The trick to learning recitative is to consciously identify patterns and shapes in the words and music. Once you discover exactly where the different patterns start, you can use them as a hook to speed up the non-moving parts.

I recommend that you do steps 1 through 5 at tempo (speed of thought). After completing these steps, you will find that you can recite the recitative quickly and confidently.

If you don’t believe me, just try it!

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