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	opera. The Columbia Encyclopedia, Sixth Edition. 2001-05
		However, it was not until the appearance of Claudio Monteverdi in Venice that baroque opera reached its peak, and the art form that began as entertainment for the aristocracy became available to popular audiences.
		The ballad opera eventually led to the singspiel, the German comic opera with spoken dialogue, which was to reach its highest development in the works of Wolfgang Amadeus Mozart.
		These operas, although somewhat limited in melodic invention, fused in their plots the natural and the supernatural and paved the way for the grandiose music dramas of Richard Wagner, who also wrote his own librettos.
	www.bartleby.com /65/op/opera.html (3517 words)

	Opera
		Traditional opera consists of two modes of singing: recitative, the dialogue and plot-driving passages often sung in a non-melodic style characteristic of opera, and aria, during which the movement of the plot often stops and the music and the singers focus on one topic using full voice.
		The bel canto opera movement flourished in the early 19th century and is exemplified by the operas of Rossini, Bellini, and Donizetti.
		Baroque French opera, elaborated by Rameau, was simplified by the reforms associated with Gluck (Alceste and Orfee) in the late 1760s.
	www.mp3.fm /Opera.htm (1786 words)

	Evolution of Opera [M.Tevfik Dorak]
		The immediate predecessors of the opera were early semi-dramatic forms as the late sixteenth-century madrigals, madrigal cycles (madrigal comedies), the pastoral, the masque, and the intermedii all of which usually featured pastoral scenes and subjects.
		In the early Baroque operas, the recitative and aria were not separated to the extent common in the late Baroque (Italian) works.
		In such operas, it is hard to separate an aria from the music, as the whole act is the unit of continuous drama.
	members.tripod.com /~dorakmt/music/opera.html (3092 words)

	Chicago Opera Theater - Reviews
		For much of the 20th century, operas by Handel, Purcell, Lully and other 17th and early 18th century composers were dismissed as too repetitious, too long and too abstract for contemporary audiences.
		Young singers began studying Baroque vocal style, and soon there was a large, international crop of singers and instrumentalists capable of finding theatrical nuance in Baroque opera's torrents of virtuoso fireworks.
		Baroque operas were the blockbuster movies of their time, or at least precursors of stage musicals like "Phantom of the Opera'' and "Miss Saigon'' with their falling chandeliers and hovering helicopters.
	www.chicagooperatheater.org /news/news-previews-dido_padlock2.shtml (1016 words)

	Opera goes for Baroque with 'Semele'
		But those Baroque operas have an undeserved reputation for being static, with singers who move with all the lifelike vivacity of furniture being rearranged on the stage.
		Opera existed as a place for hugely talented singers to show off their abilities: like figure skaters showing off their axels and lutzes.
		The difference between opera and oratorio is that the latter is not acted and staged.
	www.azcentral.com /ent/arts/articles/0122opera22.html (696 words)

	Baroque music - Wikipedia, the free encyclopedia
		The middle baroque is separated from the early baroque by the coming of systematic thinking to the new style, and a gradual institutionalization of the forms and norms, particularly in opera.
		The middle baroque, in music theory, is identified by the increasingly harmonic focus of musical practice, and the creation of formal systems of teaching.
		In England the middle baroque produced a cometary genius in Henry Purcell (1659–1695), who despite dying at age 36, produced a profusion of music, and was widely recognized in his lifetime.
	en.wikipedia.org /wiki/Baroque_music (4637 words)

	Baroque Artists of Champaign-Urbana
		The solo bass voice, when it appears in opera or oratorio, is often tied to this harmonic bass, and is not free to perform the kinds of virtuoso feats enjoyed by higher voices.
		In the baroque period its sole function was to double the cello at the lower octave in large ensembles.
		Consequently, baroque recorders generally played in groups of different sizes rather than mixing with more powerful instruments, but a recorder was sometimes called for as an obbligato or as a solo instrument in a sonata or concerto.
	www.baroqueartists.org /instruments.asp (2044 words)

	Music from the Renaissance and Baroque
		Ferrari's opera Andromeda became the first such work to be performed in the Serenissima (a sobriquet for Venice), at the San Cassiano theater, with the backing of a leading family of Venice, the Tron brothers.
		Opera was also an ideal vehicle for promoting the political agenda of the republic through allegory.
		The popular patterns in the Baroque, the passamezzo antico and passamezzo moderno, the chaconne and the ruggiero (among many examples), were derived from dances of the same names.
	www.fathom.com /course/10701021/session4.html (1604 words)

	Rhetoric and Baroque Opera Seria
		The history of opera is not particularly long but when you consider that the origins of opera date from the early 17th century then one realizes that the "standard" repertoire excludes almost half of operatic history.
		Opera seria or serious opera was the predominant type of Italian opera and musical form in the 18th century.
		This Aristotelian view of opera was one that was also current with the first opera composers and librettists of the late 16th century.
	gfhandel.org /seria.htm (3108 words)

	Baroque Opera
		The baroque era (and for this we are taking the period from around 1600 to the death of Handel in 1759) saw both the birth of opera as a musical form and its growth into perhaps the most enduring musical genre.
		Of the thousands of operas which were known to have been written in those 150 years, only a small percentage survive, notably those of such composers as Scarlatti, Handel, Pergolesi, Hasse and Gluck.
		The term Baroque probably ultimately derived from the Italian word barocco, which was a term used by philosophers during the Middle Ages to describe an obstacle in schematic logic.
	www.baroqueopera.com (333 words)

	102604Cal U Music Department To Perform Baroque Opera Dido and Aeneas November 16-18 in Old Main Chapel, 8 p.m. Nightly
		The opera was written in 1689 by the English composer Henry Purcell, to an English text.
		The chorus is used throughout the opera to comment on the action and to heighten the drama, as in Greek drama.
		Though the story of the opera is a tragic one, Purcell did not forget to lighten the mood in two scenes, offering for the enjoyment of his audeiences some comic relief in the form of sorceress and witches, with their minions, plotting mischief.
	www.cup.edu /2004/october/102604c.html (474 words)

	NYBDC: People (Site not responding. Last check: 2007-10-12)
		The ensemble has been at the forefront of the Baroque and Classical revival in the United States, with innovative performances of the major repertoire of the period featuring the foremost performer/scholars in the field.
		This work has included the only ongoing program of Baroque opera on original instruments with period costumes and staging, as well as premieres from the chamber music and chamber orchestra repertoire.
		Opera Lafayette is an American period instrument ensemble based in Washington, D.C. It specializes in performances of 17th and 18th century operas, particularly French baroque operas.
	www.nybaroquedance.org /htmls/people-musician1.html (1380 words)

	Baroque Opera (Site not responding. Last check: 2007-10-12)
		Opera in Venice got a boost when the first public opera house opened in 1637, Teatro di San Cassiano.
		The Venetian audience saw opera with tuneful melodies, clear formal structures, direct and vivid musical characterization and sharp contrasts of mood.
		Opera in France was formed by the influence of Italian opera and as a strong reaction against Italian opera.
	www.edinboro.edu /Cwis/Music/Cordell/Op_Baroque.html (373 words)

	Castrati in the Italian Baroque
		Italian Baroque vocal music was greatly influenced by the once extensive class of male singers commonly referred to as evirati (emasculated ones), Kapaune (capons), Incommodes (invalids), Chatres (geldings), and castrati.
		The current revival of interest in Baroque music makes an understanding of these euphemism-laden singers and their art especially pertinent to the vocal teacher or enthusiast, for the impact of the castrati was considerable upon vocal music in general and Italian Baroque opera in particular.
		In the late Baroque eight different vocal trills were distinguished, the three best known being the major trill, the minor trill, and the double trill, which is executed by inserting embellishments between segments of a lengthy trill.
	www.radix.net /~dalila/singers/castrato-baroque.html (2552 words)

	Baroque Era - Vocal (Site not responding. Last check: 2007-10-12)
		This was a new style of singing of drama, and, consequently, became the earliest operas.
		Two final characteristics of venetian opera were its complex and improbable plots and the prototype of its overture, which was a short instrumental fanfare performed at the beginning of the opera.
		Since Italian operas were typically performed in the city of London, the English did not feel the need to make their own operatic form.
	library.thinkquest.org /15413/history/history-bar-voc.htm (1181 words)

	classical music - andante - baroque opera makes fun of itself
		The composer of 21 operas, Gassmann was already famous throughout Europe when he teamed up with the noted librettist and bon vivant Ranieri de Calzabigi for this opera, which premiered at the Burgtheater in Vienna in 1769.
		Stage director Jean-Louis Martinoty knows the opera world very well himself: general director of the Paris OpÃ©ra (1986–89) and author of two books on Baroque opera, he has worked in the past with such notables as William Christie in bringing 17th- and 18th-century repertory to the stage.
		The countertenor-turned-conductor, in the midst of a string of triumphs leading operas by Mozart, Haydn and Gluck, discusses singing to the players in the pit, the return of embellishments in recitative and why he now tends to use female altos.
	www.andante.com /article/article.cfm?id=20457 (908 words)

	Baroque Chamber Opera to Celebrate Jesuit Anniversaries Year \| College of the Holy Cross
		The Chamber Opera San Ignacio is a musical work that became emblematic of the whole Jesuit Missionary enterprise in Paraguay and, indeed, the whole world as well.
		The music for this little opera was composed not only by Domenico Zipoli, but also by another Jesuit composer, and architect as well, the Swiss Martin Schmid (1694-1772) and an unknown, third composer.
		This third collaborator may well have been one of the indigenous musicians of the Chiquito townships where the score was evidently collated sometime in the second quarter of the 18th century.
	www.holycross.edu /publicaffairs/features/2006-2007/chamberopera_06 (551 words)

	OPERA REVIEW: Baroque Romp By Kip Cranna (Pocket Opera, March 28, 2004)
		Also familiar from past experiences with this group was the somewhat slap-dash but exuberant performance, showing clear signs of minimal rehearsal but enthusiastic commitment, with a cast that included some fine singers, and a chamber ensemble of capable instrumentalists who had many splendid moments and a few near-disasters.
		The bad guys have the most fun in Baroque opera, and Lee Stawn had plenty of it as the Saracen king of Jerusalem, Argante.
		Kelly Powers made her Pocket Opera Debut with suitable vocal allure as a mermaid, while a couple of other roles were eliminated without ill effect.
	www.sfcv.org /arts_revs/pocketopera_3_30_04.php (865 words)

	Berkshire Opera Company:The Republican review
		Berkshire Opera's "Rinaldo" was sung in Italian with English supertitles, and presented in concert format with minimal but effective staging, costumes, and lighting.
		Mezzo-soprano Laura Vlasak Nolen, with a voice of 19th-century magnitude yet convincing Baroque agility (she essayed terrific roulades in Act I's "Sulla rota di Fortuna"), took the part of Goffredo's brother Eustazio.
		Taking into account the world's current conflicts, it becomes fascinating how a Baroque opera about a medieval subject can be so resonant in the 21st century.
	www.berkshireopera.org /reviewrinaldorep.html (692 words)

	Seattle Opera
		Even though the first opera was probably performed in 1596, opera as an art form supposedly begins in 1600.
		Phantom of the Opera, not a piece that I would want to claim as an opera, is completely sung through, yet because Andrew Lloyd Weber did not call it an opera, it is not an opera.
		In this mix there was one baroque opera, two by Mozart, two bel canto, three each by Verdi and Puccini, plus one non-Puccini verismo work.
	www.seattleopera.org /company/visit/what.aspx (563 words)

	Early Italian Opera: The Cities of Italian Opera (Site not responding. Last check: 2007-10-12)
		From these combinations of the arts, opera began its entrance into music history and as the towns of Padua, Mantua, and Ferrarra had been the great centers of medieval Italian music, these Italian cities became the centers of early baroque opera.
		The home of opera began in the court of the wealthy, and that place was the Medici court in Florence.
		Neapolitan opera was well-received by the people only because of its reality to everyday life in Naples and because of the rise of the "dialect comedies" in the theatres, which stressed local plot settings to emphasis the humor.
	www.vanderbilt.edu /htdocs/Blair/Courses/MUSL243/itcitypg.htm (581 words)

	Pittsburgh Opera: The Season - XERXES (Site not responding. Last check: 2007-10-12)
		Set in this unforgettable era, Handel’s Baroque masterpiece overflows with dazzling melodies including the beloved “Ombra mai fu,” and showcases the stellar talents of the Pittsburgh Opera Center.
		Filled with love, jealousy, and comic misunderstandings, this romantic opera is jam-packed with love triangles and plot contortions, ultimately resolved in a surprising twist.
		Cast and opera are subject to change without notice.
	www.pittsburghopera.org /0506season/xerxes.shtml?search=xerxes=A000 (155 words)

	Baroque Music (1600-1750)
		The first opera was written in 1597, called 'Dafne', and was composed by Peri.
		The one great English opera of the 17th Century is 'Dido and Aeneas', and was composed by Purcell.
		Born about the same time as opera, this vocal music was at first very similar to operas.
	www.rpfuller.com /gcse/music/baroque.html (929 words)

	Baroque Modern Opera
		For many, the term is an oxymoron, because for them opera means "grand opera" and extends from Mozart to Puccini, with the occasional foray into Berg or Britten for the adventurous.
		Another acquaintance, this time an "opera person", sniffs, "Oh you mean …" and he lets out a series of squeaks and growls that I take are his version of what contemporary composers ask singers to emit.
		Just as Baroque opera delighted in elaborate stage machinery for supernatural effects, we have even greater power to present both visual and aural imagery that would be difficult to include in conventional staging.
	www.sfu.ca /~truax/baroque.html (674 words)

	NYBDC: Press (Site not responding. Last check: 2007-10-12)
		The world-renowned New York Baroque Dance Company was invited to present dances in the courtly and comical styles to revive this opera with true historical authenticity.
		She ensured that the dances, performed by her New York Baroque Dance Company, played an integral role in the story of the enchantress who lures men to her magic island and transforms them into wild beasts or other undesirable states.
		In the process, she also discovered for the audience the lost art of baroque dance, and invested it with a liveliness and charm you could never guess from an old print.
	www.nybaroquedance.org /htmls/press.html (1734 words)

	WMHN--Baroque (Site not responding. Last check: 2007-10-12)
		Opera’s “mostly consisted of mostly arias, about 30 of them, in the da capo (a-b-a) form with a built-in repeat.
		In the Lutheran tradition, to which the late Baroque composer Johann Sebastian Bach belonged, the sacred cantata was an integral part of the service, related [to] the sermon and prayers that followed it.” and do not employ costumes or scenery.
		One of Lully’s opera’s was at first “coldly received” and Lully, “who was so passionately fond of his own compositions, that (as he himself confessed) he would have killed any one who said they were bad, had it performed for his own gratification, he himself forming the whole audience.” 2:9
	www.omsd.k12.ca.us /wiltsey/wimds00-01/wmhnbaroque.htm (5278 words)

	Italian Baroque Opera
		Like all good populist revolutions, the opera movement was started by a ring of artists and intellectuals who met regularly in the home of a rich, enlightened patron.
		It was in that climate that opera was born.
		We’d tell you that the concert should be a great educational primer on early opera, but Eagan flips out at any mention of the E-word.
	www.angelfire.com /music2/davidbundler/italy.html (773 words)

	PlaybillArts: Features: Sex, Drugs and Baroque Opera
		In all cases, the aim was to use laughter to bring audiences to a greater understanding of themselves, their leading citizens, and the society they lived in.
		Increasingly, an uncontrollable sexual appetite was seen as a form of effeminacy, and therefore uncomfortably similar to the spineless "luxury" of Italy, the land of popery, sodomy--and opera (moralists never tired of pointing out the connections between these three!).
		This was particularly insensitive at a time when opera tended (with a few notable exceptions) to celebrate the virtues of hereditary and absolutist rule.
	www.playbillarts.com /features/article/5126.html (1996 words)

	Weekend Workshops
		For singers, this means that you can bring opera roles, cantatas or songs to be worked on musically, vocally and physically (gesture and movement).
		She has made many recordings, including Handel’s Harp concerto with Tafelmusik, Sonata al Pizzico (duos for harp and baroque guitar with Stephen Stubbs), and a new recording soon to be released with Teatro Lirico for ECM.
		Maxine teaches baroque harp at the Seattle Academy of Baroque Opera which opened its doors in 2006.
	www.seattleacademyofbaroqueopera.org /workshops.html (779 words)

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