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Topic: Opera seria

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In the News (Tue 23 Jul 19)

  Opera Seria - Search Results - MSN Encarta   (Site not responding. Last check: 2007-11-03)
Opera Seria (Italian 'serious opera'), type of opera distinct from opera buffa, or comic opera.
Opera Buffa (Italian 'comic opera'), type of humorous opera distinct from opera seria, or “serious opera.” Opera Buffa was lighter in style, often...
Opera, drama in which the text is set to music and staged.
encarta.msn.com /Opera_Seria.html   (175 words)

  Glimmerglass Opera - Opera Insights   (Site not responding. Last check: 2007-11-03)
The characteristics of opera seria took shape during the first two decades of the 18th Century as part of a literary reform led by the Arcadian Academy of Rome established in 1690.
The opera seria aria was conventionally in what is called da capo ('from the beginning) form: a first section was followed by a contrasting middle section, which was followed by a repeat, from the beginning, of the first section.
The reservations [over opera in London] which remained to the eighteenth-century public, and which are largely shared by a twentieth-century audience, concern the expectations and conventions of opera seria.
www.glimmerglass.org /insights/orlando/seria_detail.html   (1567 words)

 opera. The Columbia Encyclopedia, Sixth Edition. 2001-05
Officially, French opera began in 1669 with the establishment of the Académie royale de Musique, which was taken over by Jean Baptiste Lully in 1672 after the bankruptcy of its founders.
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)

 Rhetoric and Baroque Opera Seria
Of that neglected half, the Italian operas of the late seventeenth and early eighteenth centuries are the most ignored.
Opera seria or serious opera was the predominant type of Italian opera and musical form in the 18th century.
Later in Act III of the opera the same theme of supposed spousal infidelity occurs in the aria "D’ove si affretti".
gfhandel.org /seria.htm   (3108 words)

 Opera seria - Wikipedia, the free encyclopedia
Opera seria (sometimes called melodramma serio) is an Italian musical term which refers to the noble and "serious" style of Italian opera that predominated in Europe from the 1720s to ca 1770.
The popular rival to opera seria was opera buffa, the 'comic' opera that took its cue from the improvisatory commedia dell'arte.
Opera seria built upon the strict dramma per musica ("drama through music") conventions of the High Baroque era by developing and exploiting the da capo aria, with its A-B-A form.
en.wikipedia.org /wiki/Opera_seria   (1169 words)

 Opera Seria   (Site not responding. Last check: 2007-11-03)
Opera seria is a term used to describe a type of opera composed during the 18th century and later.
Opera seria had to have a new type of libretto suitable to the requirements of the stage and as a reform of the 17th century libretto.
In opera seria the aria was the main element of musical elaboration and also the element receiving the most abuse from singers.
www.edinboro.edu /cwis/music/Cordell/Op_seria.html   (433 words)

 Musical Forms - Opera
French opera, as seen in the tragedies lyriques of Lully, was essentially a court spectacle, predominantly on legendary or mythological themes, and in five acts, with big choral and ceremonial scenes reflecting the magnificence and social order of the age of Louis XIV.
Lighter forms of opera, such as opera buffa in Italy, opéra comique or comédie mêlée d'ariettes in France, ballad opera or comic opera in England and Singspiel in Germany, came from humble beginnings to flourish alongside opera seria and even to penetrate its substance.
New operas continue to be composed; but the expense of staging them and the difficulty of reconciling advanced forms of musical utterance with the requirements of the traditional opera house and its audience have induced many composers to prefer chamber opera or other kinds of music theatre susceptible to concert, 'workshop' or experimental production.
w3.rz-berlin.mpg.de /cmp/g_opera.html   (829 words)

 Knoxville Opera - Opera 101
Opera music tends to describe or enhance what is being said, and composers of opera try to fit music and words together in a very dramatic way in order to tell a story.
Opera singing is different from popular singing in that the voice is trained to sing from the lowest note to the highest note in a strong, even range of sound without amplification.
Opera singers have only their voices to convey strong emotions such as fear, anger, or longing, and therefore, have to train their voices to be versatile and agile while simultaneously being brilliant or warm depending on what the scene requires.
www.knoxvilleopera.com /101/questions.html   (947 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.
Intermezzi and opera buffa differed from opera seria in that they showed awareness of changing trends in drama and literature, and considered those in their use of subject matter.
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)

 Serious and Comic Opera in Eighteenth-Century Italy
[7] The ordinary recitative that was used in opera seria was the recitativo secco, or, as it was called at the time, the recitativo semplice, which consisted of the typical recitative-style vocal line set to a continuo accompaniment of harpsichord and a stringed bass instrument.
The opera buffa, like the intermezzo, always featured a leading role in the bass voice, which was practically unheard of in opera seria; on the other hand, castrati were almost never seen in opera buffa.
The opera seria of the later 1700's and early 1800's underwent many alterations: most notably, the da capo aria lost its preeminence, while more spectacle, grandiose choral and orchestral effects were added to the score, and the boundary between aria and recitative became much less definite.
www.nthuleen.com /papers/M52opera.html   (2059 words)

 History of Opera: A brief walk through opera history
In opera a story is expressed through the voice and musical instruments, and is often accompanied by ornate costumes and sets.
Following Verdi's passionate and triumphant operas of the mid to late 1800's comes the opera genre known as verismo (realism), which emphasized sordid settings and violent contrasts.
Wagner operas (German) were characteristically nationalistic and often based on legends and folklore.
www.operagifts.com /history_of_opera.php   (1070 words)

 Krannert Center . Performances - Genre - Opera
Operas are known as "complete artworks" because the music can strengthen any spoken words, carry hints about feelings not expressed in words, and telegraph implications about the relationships between the characters.
Opera seria, tragic opera, or grand opera frequently tell stories about gods, heroes, and political figures living and dying in an atmosphere of high tragedy.
Opera buffa uses Italian commedia dell'arte characters such as Harlequin and Columbine and involves servants with attitudes, senile masters, and all sorts of roguish and clownlike characters.
www.kcpa.uiuc.edu /performances/genre/opera.asp   (516 words)

 Opera buffa - Wikipedia, the free encyclopedia
Opera buffa (a form of comic opera), also known as Commedia in musica or Commedia per musica, is a genre of opera.
Opera buffa by Piero Weiss and Julian Budden, in 'The New Grove Dictionary of Opera', ed.
Opera buffa • Opéra bouffe • Opéra bouffon • Opéra comique • Opéra féerie • Opera semiseria • Opera seria • Operetta • Pastorale héroïque • Savoy opera • Semi-opera • Singspiel • Tragédie en musique • Verismo • Zarzuela
en.wikipedia.org /wiki/Opera_buffa   (1133 words)

In one sense his operas were a reaction against the spectacular ‘singers’ operas' of Meyerbeer which he had seen in his Parisian youth.
Nationalist opera was principally an E. European development, beginning with Glinka's A Life for the Tsar in 1836 and continuing with Mussorgsky's Boris Godunov and Borodin's Prince Igor.
Operas by the It.-born Menotti and by Barber and Argento followed the European tradition, and qualities of exuberance, raciness, and wit which the Americans bring to mus.
www.classicalarchives.com /dict/opera.html   (1544 words)

 Knoxville Opera - Opera 101
Opera is most often sung in the language in which it was originally written to better capture the descriptive relationship between the music and the story.
Characters in opera are developed by the composer and given certain voices to best illustrate their personality and role.
Opera is thought to be the single greatest art form because it combines many artistic disciplines into one.
www.knoxvilleopera.com /101/what.html   (652 words)

 Opera   (Site not responding. Last check: 2007-11-03)
Opera stems from the courts of Renaissance rulers, who vied with each other in the magnificence of their private and public spectacles.
The music of Metastasian opera seria was as ritualized as its plots: characters invariably exited the stage at the end of their arias, and the arias were neatly classified according to the mood they illustrated (rage aria, lament, avowal of love, and so on).
The greatest weakness of opera seria was also its greatest glory: the long da capo arias repeatedly brought the drama to a halt, and yet the opportunities they provided for singers attracted a wide public to this most aristocratic of genres.
russia-in-us.com /Music/Opera/opera.html   (2986 words)

 PeoplePlay UK - Handel and Opera Seria
The German composer George Frederick Handel, who settled in London with his patron George I, introduced opera seria to London when his Italian opera Rinaldo which was first performed in 1711.
The opera was staged with dramatic settings: an enchanted palace with blazing battlements; a fl cloud filled with monsters spitting fire and smoke.
Handel's operas were vocally elaborate, with long arias designed to display the virtuosity of the castrato stars.
www.peopleplayuk.org.uk /guided_tours/opera_tour/18th_century/handel.php   (231 words)

 Opera Lafayette - Reviews
In Europe, mainstream opera companies will sometimes have established partnerships with period instruments groups or will maintain their own ensembles to give listeners a diet of opera that goes beyond the well-trod two centuries of familiar repertoire (Mozart to Strauss) they generally offer.
The performing group Opera Lafayette is still relatively unknown, though rapidly gaining followers, and composer Antonio Sacchini (1730-1786) is hardly a household name though this, his last work, was wildly successful, with 583 performances at the Paris Opera between 1787 and 1844.
The opera is based on Sophocles' tragedy "Oedipus at Colonus," the second item in a trilogy that is one of the glories of Greek literature.
www.operalafayette.org /reviews.html   (3246 words)

 Virginia Opera: All About Opera: Terms to Know
Grand Opera - Opera that is sung from start to finish, as opposed to opera that may have spoken dialogue; grand opera frequently treats serious, dramatic subjects and, in French opera of the 19th century, was generally epic in scale with a full-scale ballet inserted in the middle of the work.
Opera Buffa - A style of opera which revolves almost entirely around comedy; perhaps an outgrowth of the Italian intermezzo, the opera buffa as a form was popular in the baroque days as well as in Italy of the early 19th century.
Tessitura - The average range of a vocal part in an opera; for example, the tessitura of Lucia di Lammermoor is quite high, that of Santuzza in Cavalleria rusticana (although it is still a soprano role) is low enough that the role could be sung by a mezzo-soprano.
www.vaopera.org /html/allaboutopera/termstoknow.cfm   (4343 words)

 What is Opera: The Emporer's New Clothes
Operas are known for being “complete works of art” because the form seamlessly unites music, drama and spectacle.
It was in the 18th century that opera clearly separated into two distinct categories: opera seria (grand, serious opera) and opera buffa (comic opera, more popular with the lower classes).
Opera is a very important part of the human spirit, and people have escaped t its beauty and wonder over and over again in history.
www.kennedy-center.org /programs/family/emperor/History.html   (966 words)

 Opéra de Montréal   (Site not responding. Last check: 2007-11-03)
The circumstances surrounding the origin of the opera seria The Clemency of Titus (La clemenza di Tito) remain unclear.
Such haste certainly did not help the opera’s reputation and, after a highly successful run up to around 1825, it was dropped from the repertoire for a bit more than a century.
Like the two other operas from Mozart’s last years, Così fan tutte (1789) and The Magic Flute (1791), La clemenza di Tito is imbued with a Freemasonic symbolism that praises victory over the passions and the humanity of its characters, who are set against a backdrop composed of the ideals of liberty and fraternity.
www.operademontreal.com /en/affiche/historique.asp?prod_id=70   (821 words)

 Opera Terms
In baroque operas, the contralto generally represented a certain character type on stage: either comic (a sort of female basso buffo), or spooky and other worldly, or just plain matronly.
- opera which is sung from start to finish, as opposed to opera which may have spoken dialogue; grand opera frequently treats serious, dramatic subjects and, in French opera of the 19th century, was generally epic in scale with a full scale ballet inserted in the middle of the work.
In the operas of Schoenberg or Berg, early 20th century German composers, the main melodies are marked with an "H" to indicate that the composers considered those the principal tunes.
patriciagray.net /Operahtmls/terms.html   (4278 words)

 Giulio Cesare - George Frideric Handel
The genre he admired most was Opera Seria (literally ‘serious opera’), a very formulaic variant in which exposition systematically alternated with reflection.
Handel’s work with Opera Seria became synonymous with the Royal Academy of Music, a body founded in 1719 to bring Italian opera to England.
Opera Ireland’s current production has been wittily staged by director Elaine Padmore in a manner which strikes a strong contrast with their concurrent production of Don Carlo.
www.culturevulture.net /Opera/GiulioCesare.htm   (926 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 Opéra (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)

 Feldman, scholar of opera seria, garners Dent Medal
For Martha Feldman, a scholar of opera seria, or “serious opera” in Italian, opera’s timeless seriousness is a window into its opposite–a chain of events, sometimes riotous, tied to a particular time and place and ridden with conflict and social drama.
Because she focuses on the historical contradictions in opera seria as well as its lavish sets and intense arias, Feldman’s work is highly distinctive.
But opera seria was consolidated early in the 18th century when the old regime was already in trouble.
chronicle.uchicago.edu /021121/feldman.shtml   (1057 words)

 Glimmerglass Opera - Opera Insights   (Site not responding. Last check: 2007-11-03)
The term opera seria defines a broad swath of 18th-century operatic output, instigated and fashioned in 1720's Italy by composers including Hasse and Pergolesi, but extending through Gluck to the two seria operas of Mozart - Idomeneo and La Clemenza di Tito.
The dramatic force of Handel's operas comes largely from these formal twists - we expect a da capo aria for the entrance of the grand hero Orlando, but are rather left hanging by a contemplative arioso that immediately sets up (musically and dramatically) the contradictions of love and war that eventually drive him mad.
...Handel ensured that the opera was in continuous fluid motion...
www.glimmerglass.org /insights/orlando/seria_intro.html   (376 words)

 The Reform of Opera Seria   (Site not responding. Last check: 2007-11-03)
In Baroque opera of the 17th century machines were used to create spectacular effects, plots were relegated to establish mood using an elevated type of language, and comic scenes were interlaced with the serious.
This type of opera underwent a reform by the librettists Zeno and Metastasio in the early 18th century, bringing about opera seria.
So it was that opera progressed toward Mozart and then the 19th century with two centuries of experience, experimentaion and reform.
www.edinboro.edu /cwis/music/Cordell/Op_reform.html   (363 words)

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