A Dictionary of Music and Musicians/Scena
SCENA (Gr. Σκηνα; Lat. Scena; Ital. Scena, Teatro, Palco; Ger. Bühne, Auftritt; Fr. Scène, Théâtre; Eng. Scene, Stage). A term, which, in its oldest and fullest significance, applies equally to the Stage, to the Scenery it represents, and to the Dramatic Action which takes place upon it. Hence, the long array of synonyms placed at the beginning of this article.
I. Classical authors most frequently use the word in its first sense, as applying to that part of a Greek or Roman Theatre which most nearly answers to what we should now call the Stage; and the classical tendencies of the Renaissance movement led to its similar use in the 16th century. Thus, in Peri's 'Euridice,' printed in 1600, we find the following direction: 'Tirsi viene in Scena, sonando la presente Zinfonia con un Triflauto'—'Thyrsis comes upon the Stage, playing the present Symphony upon a Triple Flute. [See Opera.]
II. In its second sense, the word is commonly applied, in England, to those divisions of a Drama which are marked by an actual change of Scenery; a method of arrangement which is even extended to English translations of foreign works.
III. In the Italian, German, and French Theatres, the word is more frequently used, in its third sense, to designate those subordinate divisions of an Act[1] which are marked by the entrance, or exit, of one or more members of the 'Dramatis personæ'; a new Scene being always added to the list, when a new Character appears upon, or quits the Stage, though it be only a Messenger, with half-a-dozen words to say, or sing. The ostensible number of Scenes, therefore, in an Italian, or German Opera, is always far greater than that indicated in an English version of the same work. For instance, in the original Libretto of 'Der Freischütz' 7 Scenes are enumerated in the First Act, 6 in the Second, and 17 in the Third; whereas the popular English translation only recognises 1 in Act I, 2 in Act II, and 3 in Act III. An attempt to introduce the Continental practice to the English Theatre was made, some years ago, in the collection of Operas called 'The Standard Lyric Drama' (Boosey & Co.); and, as it has been revived in the excellent 8vo editions now publishing by Messrs. Novello, it is to be hoped that uniformity of custom may be eventually established, at least in all translated works.
IV. In a more limited sense, the term Scena is applied, by Operatic Composers, to an Accompanied Recitative, either interspersed with passages of Rhythmic Melody, or followed by a regular Aria. In the former case, the word is generally used alone and always in its Italian form: in the latter the Composition is sometimes called 'Scena ed Aria.' Less frequently, the place of pure Recitative is supplied by the introduction of short strains of Melody, with strongly-marked variations of Tempo. But, in all cases, it is de rigueur that the character of the Composition should be essentially and unmistakably dramatic throughout. The Scena, thus defined, is as old as the Opera itself; for the name might very well be given to the Scene from 'Euridice,' already alluded to; or to the 'Lamento' in Monteverde's 'Ariana.' A very fine example, much in advance of its age, will be found in 'Ah rendimi quel core,' from Francesco Rossi's 'Mitrane' (1688 [App. p.781 "1689"]). Handel used the Scena, with telling effect, both in Opera and Oratorio; as in 'Solitudini amate,' in 'Alessandro'; 'Il poter quelche brami,' in 'Scipio,' and 'Deeper and deeper still' and 'Farewell ye limpid streams,' in 'Jephtha.' Mozart's peculiar aptitude for this kind of Composition is well exemplified in his wonderful Scena for two Voices, 'Die Weiselehre dieser Knaben,' in 'Die Zauberflöte'; in innumerable delightful instances in his other Operas; and in a large collection of detached pieces, such as 'Ch'io mi scordi,' 'Bella mia fiamina,' 'Ahi, lo previdi,' 'Misera, dove son?' and others, too numerous to mention, most of them written for the Stage, though some are clearly intended for the Concert-room, notwithstanding their powerful dramatic expression. To this latter class of Scenas must be referred Beethoven's magnificent 'Ah, perfido!' which ranks, with the Scenas for Leonore, and Florestan, in 'Fidelio,' among his most passionate Compositions for Voice and Orchestra. The Scena was, unquestionably, Weber's strongest point—witness his three magnificent examples, 'Durch die Wälder,' 'Wie nahte mir die Schlmmner,' and 'Ocean, du Ungeheuer,' and his six 'Concert Arien'—of which, however, five only have as yet been published. The grand Scena, in B♭, for Kunegunde in 'Faust,' is one of Spohr's most notable masterpieces: and the same Composer's impassioned Instrumental Scena, for Violin and Orchestra, stands quite alone, as an inspiration of the highest order. He also wrote a very fine Scena for the Concert-room 'Tu m'abbandoni' (op. 71): and Mendelssohn has left us a priceless treasure of this class, in his 'Infelice,' which embodies an amount of scenic power no less remarkable than that thrown into the numerous similar movements in his Oratorios. The secret of success, in all these cases, lies in the intensity of dramatic expression embodied in the work. When this is present, no really great Composer ever fails to hit his mark. In its absence, the outward form of the Scena becomes a meaningless absurdity—a truth which has not been sufficiently considered by some writers of later date.[ W. S. R. ]
- ↑ Ital. Atto; Fr. Acte; Ger. Aufzug—in allusion to the raising of the curtain.