An Exploration Of The Singing Of The Aria Si Tra I Ceppi In The Opera Berenice

The aria "si tra i ceppi" from the opera Berenice is a very typical aria in the style of Baroque works.Because its continuous and smooth cadenza is of great help to the training of the male low voice,it has become one of the most representative arias for the male low voice at present,and is also an essential piece for the learners of this voice to sing the Bel canto works of the Baroque period.Therefore,the significance and value of this thesis is revealed by analyzing the characteristics of the music style of the Baroque period and the singing techniques and sound training that match the aria itself.So,what kind of style characteristics of vocal music works in the Baroque period are presented in this work? How should we understand the cadenza and sing it in what voice? How to deal with the relationship between cadenza and the whole work?To solve these problems,this paper will analyze and explore from three chapters,the first chapter through a brief introduction of Handel’s life,experience and music creation characteristics,as well as the opera "Berenice" creation background and brief introduction.To understand the music style of the Baroque period and Handel’s opera music creation characteristics,for the subsequent chapter lyrics and music spectrum text analysis to do a paving;The second chapter analyzes the text once created by lyricist and composer from the perspective of the text of lyrics and music of the aria,and defines the concept of cadenza.Through the analysis of this chapter,it provides a basic theoretical reference for the singing analysis of the following works.The third chapter analyzes the singing of this aria from three aspects.Firstly,it explains the role of cadenza in this work,and then puts forward the training methods needed to sing this work.Secondly,this paper discusses and analyzes the singing treatment of the whole piece from the perspective of the sound technology(the selection of timbre,the requirement of singing breath and the matters needing attention in enunciation)needed for the music of the Baroque period.Combined with my own experience on stage,I made a summary of my personal experience in singing this aria from two dimensions of body language,emotional mobilization and self-regulation.Finally,combined with the author’s cognition and learning experience,the author makes a summary and answer to the questions studied in this paper.