![]() The most famous work is La serva del padrone, a 50-minute piece by Paisiello that served as an intermezzo between two acts of an opera seria.Īlthough the works of opera buffo are almost extinct today, their influence was not insignificant. It was based on the commedia dell’arte and was the antithesis of the aristocratic opera seria in Italy. Opera buffa was the folk opera in the 18th century. Mozart was the last great to write works for opera seria he himself counted his Idomeneo among his greatest creations. No longer hollow affects, but noble feelings were to appeal to the opera-goer. With his so-called reform operas he domesticated the stars. Thirty years after Handel, it was finally up to Gluck to reform opera seria and lead it to a silver flowering. When he moved to Vienna, he also became influential for German-speaking Europe. No other librettist in the entire history of opera set more works to music. His heroes were gods, knights, and nobles. He purified the plot and established fixed formulas. The Italian Metastasio reformed the poetry of opera seria and his libretti became blueprints. Their weapon was the da capo aria, which allowed them to show off their virtuosity with coloratura, cadenzas, and ornamentation. To make his opera house thrive, he used the star principle (castrati and prima donnas) to attract the nobility and the wealthy to his theaters. After three years of learning and traveling in Italy, he decided to seek his fortune in London – at his own risk. The German Händel established the castratias primi uomini and the coloratura sopranos as prime donne. The fact that opera seria was able to develop into a powerful art form is (somewhat simplified) due to three men: By 1750, however, the time had passed, and the controversy of the Buffonists and later the Piccinists established opera seria and the influence of Italian opera.”ġ30 years after the beginnings of opera, this art form had developed into scenic and musical arbitrariness. With the death of Lully, the art form ossified only the genius of Rameau was able to revive the tragedie lyrique with the so-called Opéra Ballets and the virtuoso orchestral pieces that populated his operas. Lully first composed popular comedies in collaboration with Molière and then, in collaboration with Quinault, the first operas, the so-called “tragédies lyrique,” in which chorus and ballet played an important role, but without castrati (as was customary in Italy at the time). Louis was also an enthusiastic dancer and a friendship developed between the two.īecause of Louis XIV’s high standards, the tragédie lyrique developed a comprehensive artistic ambition that required the expenditure of great resources to provide the court with a grand spectacle. Lully was a talented musician and very good dancer when he met the 14-year-old future Sun King Louis XIV at the age of 20. He was responsible for French opera taking a very different path than Italian (and later European) opera. Born in Florence, he was taken to Paris as a 14-year-old garcon de chambre to a noble house. Lully (1632-1687) is considered the founder of the tragédie lyrique and French opera. In France, a French variant developed 70 years later, the tragédie lyrique. Gradually, the art form reached other parts of Italy (Naples: Scarlatti) and northern Europe (Germany: Schütz, England: Purcell). With L’incoronazione di Poppea he wrote the greatest masterpiece and the first opera with castrati in the leading roles. It is thanks to the genius of Claudio Monteverdi that this rather dispassionate adaptation developed into a dramma per musica with flesh-and-blood people and brought the passions into the art form of opera (stile concitato). From these efforts came the original form of opera. ![]() The goal was not elaborate melodies and gifted ideas, but a vocal style similar to speech (cantar recitando). The music should adapt to the text and not obscure it. The motto was: prima le parole, poi la musica (first the text, then the music). The main focus was on promoting the textual intelligibility of vocal music. In the so-called Florentine Camerata (Camerata fiorentina), the elite of art and nobility met since the 1570s with the aim of reviving the art of antiquity. Unis dès la plus tendre enfance (Iphigenia)įlorence is generally considered the birthplace of modern opera.Madamina, il catalogo, Catalogue Aria (Don Giovanni).Je dis que rien ne m’epouvante (Carmen).Glück, das mir verblieb (Die tote Stadt).Dies Bildnis ist wunderschön (Zauberflöte).Dein ist mein ganzes Herz (Land des Lächelns).
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