Overtures in opera have a rich history, evolving from functional ‘beginnings’ to artistic statements that set the tone for entire productions, and became works that could stand alone as concert repertoire, such as Mendelssohn’s Hebrides Overture, Fingal’s Cave or Tchaikovsky’s 1812 Overture, and then developing into an integral part of musical theatre and film. Overtures have transformed into powerful tools for setting the tone and preparing the audience for the story that follows.
An overture (from the French ouverture, meaning opening) is defined as an instrumental introduction, emerging in the 17th century to ballet, oratorio and opera performances in France and Italy.
In early opera, the overture served as a prelude, often to quiet the audience and signal the start of the performance. Italian opera composers like Monteverdi and Scarlatti used simple, stately orchestral pieces to mark the beginning. The French overture, pioneered by Jean-Baptiste Lully in ballets de cour, became significant with its two-part structure: a slow, majestic opening followed by a faster, more lively section. Purcell also embraced this French style in his opera Dido and Aeneas, as did the composers Bach, Handel and Telemann as preludes to orchestral suites.
By the 18th century composers like Mozart began to use the overture as a more integrated part of the opera, and his overture to The Marriage of Figarois a perfect example. In Italian opera the overture became known as sinfonia avanti l’opera (the symphony before the opera) and a mainstay of operas by Rossini (William Tell) and Verdi (La forza del destino and La traviata). These opera overtures would introduce musical themes or motifs that would appear later in the opera, creating a more cohesive musical narrative. Overtures continued to evolve even further during the 19th century when opera overtures become more elaborate and emotionally charged. Composers like Beethoven (Fidelio), and later Wagner – particularly in The Flying Dutchman and Tannhäuser - began to use overtures to encapsulate the emotional and thematic essence of the entire opera and often present the principal leitmotifs (musical themes referencing characters or ideas) that would be developed throughout the opera.
As the 19th century progressed and as operetta (light opera) gained popularity, overtures became more light-hearted and tuneful, summarising the main melodies of the show in an entertaining and accessible way. Composers such as Johann Strauss II (Die Fledermaus), Lehár (The Merry Widow) and Gilbert & Sullivan were key figures in this transition, and their overtures were often medleys of the most memorable tunes from the operetta, designed to whet the audience's appetite.
This continued into the 20th century, with overtures becoming the standard feature on Broadway and in Hollywood films and ‘Golden Era’ musicals. Composers like Richard Rodgers, George Gershwin, Korngold and Leonard Bernstein wrote overtures that were lively, engaging, and often medley-like, featuring snippets of the show's most popular songs and music. These overtures served as a musical preview, building anticipation for the performance. Examples include the overture to Bernstein’s West Side Story and Candide and Rodgers and Hammerstein’s Oklahoma!, South Pacific and Seven Brides for Seven Brothers. It wasn’t just musicals such as Kiss Me Kate! or Guys & Dolls, many epic films also had overtures including famous examples such as Gone with the Wind (1939) and Lawrence of Arabia (1962).
As musical styles evolved in the late 20th century, the use of overtures became more varied. Some later musicals, such as Sweeney Todd by Stephen Sondheim, retained the traditional overture form, while others, like Les Misérables or The Phantom of the Opera by Andrew Lloyd Webber, often opted for prologues of opening music instead.
To enjoy Mozart’s majestic overture to The Marriage of Figarobook now to see the opera in WNO’s Spring 2025 Season.
