Patter song
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The patter song is a staple of comic opera. It is typically a solo for bass or baritone (with or without choral interjection), characterized by a moderately fast to very fast tempo with a rapid succession of rhythmic patterns in which each syllable of text corresponds to one note (there are few or no melismatic passages). The text often features tongue-twisting rhyming text, with alliterative words that are intended to be entertaining to listen to at rapid speed, and the accompaniment is generally lightly orchestrated and fairly simple, to emphasize the text. The song is often intended as a showpiece for a comic character. The best-known patter songs come from the comic operas of Gilbert and Sullivan.
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[edit] Origins
The type of rapid patter described above seems to have originated in eighteenth- and early nineteenth-century Italian opera. An early example is Bartolo's "La vendetta" in Act 1 of Mozart's The Marriage of Figaro, which contains the tongue-twisting “Se tutto il codice” section near the end.
After Mozart, there are similar examples in the comic operas of Rossini and Donizetti. In most cases, there is no “patter song” as such – the patter forms a late section of a multi-part number. The best-known examples are:
- the “Tutti mi chiedono” section in Figaro’s Largo al factotum from Act 1 of Rossini’s The Barber of Seville (1816), and the “Signorina, un altra volta” section in Bartolo’s “A un dottor” in the same Act.
- the end (starting at “Mi risveglio a mezzogiorno”) of Don Magnifico’s “Sia qualunque delle figlie” in Act 2 of La Cenerentola (1817), and the whole of the short sextet “Quello brontola e borbotta” in the same Act.
- The last section of each of Pasquale and Malatesta’s verses in their duet "Cheti, cheti, immantinente" in Act 2 of Donizetti’s Don Pasquale (1843), plus a reprise in which they sing their patter simultaneously.
[edit] Gilbert and Sullivan patter songs
Gilbert had a soft spot for Don Pasquale, and must have known this last duet. Examples of G&S patter songs along the lines of the above can be found in:
- Major-General Stanley’s "I am the very model of a modern Major-General" in Act 1 of The Pirates of Penzance
- The Lord Chancellor’s "Nightmare song", “When you're lying awake” in Act 2 of Iolanthe
- the trio "My eyes are fully open to my awful situation" in Act 2 of Ruddigore, which contains the lines “This particularly rapid unintelligible patter/ Isn’t generally heard, and if it is, it doesn’t matter”.
Several of the other G&S patter songs are of this "rapid-fire" kind. Some other numbers in the G&S canon, however, are classified as patter-songs by aficionados, although they may not contain all of the attributes listed in the definition above. These are often songs telling how the character rose to an undeserved distinguished position, or they may contain a catalogue or list. The model here may be the middle section, starting “È questo l'odontalgico”, of Doctor Dulcamara’s "Udite, Udite, o rustici" in Act 1 of Donizetti’s L'elisir d'amore (1832), a work that Gilbert had travestied early in his career.[1] This was not intended to be sung at speed and does not contain tongue-twisters, and is thus more of a precursor of, say, "When I, good friends, was called to the bar" (Trial by Jury), than are the examples of the "rapid-fire" patter above.
Most of the G&S patter songs are solos for the principal comedian in the cast, and were originally performed by George Grossmith. Anna Russell’s “How to write your own Gilbert and Sullivan Opera” contains an affectionate parody of a G&S patter song.
[edit] After Gilbert and Sullivan
Apart from G&S tunes set to different words, such as Tom Lehrer's listing of the chemical elements to the tune of the Major General's Song, later patter-songs can be found in early twentieth-century operettas, such as Edward German’s Merrie England and in a number of musicals. A particularly good example is "Tchaikovsky (and Other Russians)" in Weill’s Lady in the Dark.
