527:
786:
33:
814:. The Italianate pattern of alternating, sharply-contrasted recitative and aria began to give way to ideas from the French operatic tradition. Jommelli's works from 1740 onwards increasingly favored accompanied recitative and greater dynamic contrast, as well as a more prominent role for the orchestra while limiting virtuosic vocal displays. Traetta reintroduced the ballet in his operas and restored the tragic, melodramatic endings of classical dramas. His operas, particularly after 1760, also gave a larger role to the chorus.
717:. For the librettos, Metastasio and his imitators customarily drew on dramas featuring classical characters from antiquity bestowed with princely values and morality, struggling with conflicts between love, honour and duty, in elegant and ornate language that could be performed equally well as both opera and non-musical drama. On the other hand, Handel, working far outside the mainstream genre, set only a few Metastasio libretti for his London audience, preferring a greater diversity of texts.
861:
445:) recitative, where the singer was accompanied by the entire body of strings. After an aria was sung, accompanied by strings and oboe (and sometimes with horns or flutes), the character usually exited the stage, encouraging the audience to applaud. This continued for three acts before concluding with an upbeat chorus, to celebrate the jubilant climax. The leading singers each expected their fair share of arias of varied mood, be they sad, angry, heroic or meditative.
1824:
939:
began to fade, replaced by the rondĂČ. Orchestras grew in size, arias lengthened, ensembles became more prominent, and obbligato recitative became both common and more elaborate. While throughout the 1780s
Metastasio's libretti still dominated the repertory, a new group of Venetian librettists pushed
740:
recitative, and he played a crucial part in establishing the new style of melody. Hasse, by contrast, indulged in stronger accompaniment and was regarded at the time as the more adventurous of the two. Pergolesi was noted for his lyricism. The main challenge for all was achieving variety, a break
414:
A typical opera would start with an instrumental overture of three movements (fast-slow-fast) and then a series of recitatives containing dialogue interspersed with arias expressing the emotions of the character, this pattern only broken by the occasional duet for the leading amatory couple. The
973:, of the monarchy and the nobility. This is not a universal picture: Handel in London composed not for the court but for a much more socially diverse audience, and in the Venetian republic composers modified their operas to suit the public taste and not that of the court. But for the most part,
1014:
was first performed at Vienna with a cast consisting of members of the royal family. However, with the French
Revolution came serious political upheavals across Italy, and as new, more egalitarian republics were established and old autocracies fell away, the Arcadian ideals of
1004:
Many aspects of the staging contributed to this effect: both the auditorium and stage were lit during performances, while the sets mirrored almost exactly the architecture of the palace hosting the opera. Sometimes the links between opera and audience were even closer: Gluck's
844:(1770). Gluck paid great attention to orchestration and considerably increased the role of the chorus: he also cut back heavily on exit arias. The labyrinthine subplots that had riddled earlier baroque opera were eliminated. In 1768, the year after Gluck's
407:, with its AâBâA form. The first section presented a theme, the second a complementary one, and the third a repeat of the first with ornamentation and elaboration of the music by the singer. As the genre developed and arias grew longer, a typical
597:, "La Romanina", sought out Metastasio, and took him on as her protégé. Under her wing, Metastasio produced libretto after libretto, and they were rapidly set by the greatest composers in Italy and Austria, establishing the transnational tone of
506:. The rise of these star singers with formidable technical skills spurred composers to write increasingly complex vocal music, and many operas of the time were written as vehicles for specific singers. Of these the most famous is perhaps
831:
recitative (thereby heavily reducing the delineation between aria and recitative), and took great care to unify drama, dance, music, and theatrical practice in the synthesis of
Italian and French traditions. He continued his reform with
852:. Ensemble and chorus are predominant: the usual number of exit arias slashed in half. For the most part, however, these trends did not become mainstream until the 1790s, and the Metastasian model continued to dominate.
948:
a new impetus towards the spectacular and the dramatic elements of 19th-century
Romantic opera. Tragic endings, on-stage death and regicide became the norm rather than the exception. By the final decade of the century
1019:
seemed increasingly irrelevant. Rulers were no longer free from violent deaths, and under new social ideals the hierarchy of singers broke down. Such significant socio-political change meant that
478:
felt that virtue should be rewarded and shown triumphant, while the antagonists were to be put on their way to remorse. The spectacle and ballet, so common in French opera, were banished.
470:, with highly moral narratives that aimed to instruct, as well as entertain. However, the often tragic endings of classical drama were rejected out of a sense of decorum: early writers of
977:
was synonymous with court opera. This brought with it a number of conditions: the court, and particularly the monarch, required that their own nobility be reflected on the stage.
448:
The dramaturgy of opera seria developed largely as a response to French criticism of what were often viewed as impure and corrupting librettos. As response, the Rome-based
706:
1001:. The potentate in the audience would watch his counterparts from the ancient world and see their benevolent autocracy redound to his own credit.
502:
voice backed by decades of rigorous musical training. They were cast in heroic male roles, alongside another new breed of operatic creature, the
944:
in a new direction. The work of
Gaetano Sertor and the group surrounding him finally broke the absolute dominance of the singers and gave
101:
that predominated in Europe from the 1710s to about 1770. The term itself was rarely used at the time and only attained common usage once
657:
802:
After peaking during the 1750s, the popularity of the
Metastasian model began to wane. New trends, popularized by composers such as
1312:
174:
785:
1849:
494:, often prodigiously gifted male singers who had undergone castration before puberty in order to retain a high, powerful
1413:
1859:
1284:
1166:
178:
433:, and cello, sometimes supported by further bass and chordal instruments). At moments of especially violent passion
643:. After 1730 he was settled in Vienna and turned out more librettos for the imperial theater, until the mid-1740s:
201:
621:
526:
1217:
Dent, E. J. "Italian Opera in the
Eighteenth Century, and its Influence on the Music of the Classical Period",
105:
was becoming unfashionable and beginning to be viewed as something of a historical genre. The popular rival to
386:
362:
827:(1762), Gluck drastically cut back on the possibilities for vocal virtuosity afforded to singers, abolished
777:
for pomp and bravura, G minor for pastoral effect and E flat for pathetic effect, became the usual options.
549:
466:
1255:
McClymonds, Marita P. "The
Venetian Role In the Transformation of Italian Opera Seria during the 1790s",
725:
270:
17:
1814:
1305:
753:. The mutable moods of Metastasio's librettos helped, as did innovations made by the composer, such as
358:
818:
790:
378:
274:
1723:
1399:
160:
983:
382:
1656:
896:
627:
326:
953:
as it had been traditionally defined was essentially dead, and the political upheavals that the
234:
136:
1765:
1380:
214:
1854:
1705:
1692:
1298:
1191:
904:
895:, and Traetta were effectively finished. Replacing them came a new wave of composers such as
366:
294:
117:
1844:
1366:
1321:
561:
452:
sought to return
Italian opera to what they viewed as neoclassical principles, obeying the
230:
170:
152:
8:
1262:
993:
988:
908:
682:
594:
374:
298:
254:
1523:
924:
803:
314:
286:
278:
1207:
1142:
1010:
928:
892:
603:
449:
342:
318:
262:
59:
1406:
1373:
1609:
1448:
1427:
1280:
1162:
1156:
954:
932:
823:
795:
711:
589:'s master), set the work to music, and the success was so great that the famed Roman
573:
453:
346:
322:
156:
86:
55:
400:
built upon the conventions of the High
Baroque era by developing and exploiting the
1680:
1663:
1459:
1441:
916:
743:
688:
645:
306:
165:
76:
1616:
1602:
1595:
1496:
1623:
1468:
1352:
912:
840:
834:
807:
721:
651:
609:
302:
282:
242:
238:
226:
1588:
1574:
1489:
32:
1482:
1434:
1333:
1066:
920:
582:
530:
511:
421:
370:
354:
310:
250:
246:
97:) is an Italian musical term which refers to the noble and "serious" style of
1838:
1800:
1536:
1420:
1393:
1238:
1152:
1137:
700:
615:
557:
475:
350:
338:
266:
197:
182:
140:
98:
1828:
1674:
1359:
1345:
1272:
900:
860:
749:
586:
401:
290:
258:
209:
1517:
1686:
1669:
1581:
1567:
1529:
1503:
1198:
1114:, Chapter 5, especially pp. 67â84. For the French Revolution's effect on
970:
864:
762:
662:
503:
426:
144:
111:
1642:
1786:
1710:
1553:
1542:
1339:
758:
694:
670:
578:
565:
538:
334:
330:
92:
1758:
1751:
1744:
1737:
1730:
1699:
1649:
1547:
1233:
Opera and Sovereignty: Transforming Myths in Eighteenth Century Italy
770:
676:
639:
507:
461:
457:
1793:
1779:
1716:
1636:
1510:
1454:
1387:
1006:
873:
569:
556:
Opera seria acquired definitive form early during the 1720s. While
515:
491:
128:
51:
1560:
891:
of the previous decades obsolete. The careers of Hasse, Jommelli,
1772:
774:
766:
495:
430:
564:
had paved the way, the genre only truly came to fruition due to
1290:
868:
193:
148:
42:
37:
1475:
998:
633:
132:
1823:
514:. Though Farinelli did not sing for Handel, his main rival,
720:
At this time the leading Metastasian composers were Hasse,
499:
116:
the 'comic' opera that took its cue from the improvisatory
817:
The culmination of these reforms arrived in the operas of
163:(firmly established 1709; first operatic representation:
568:
and later composers. Metastasio's career began with the
208:
was less popular in France, where the national genre of
1241:. "Opera and the Periodization of 18th-century Music",
1210:"Ensembles and Finales in 18th Century Italian Opera",
1023:, so closely allied to the ruling class, was finished.
143:
e. g.). Among the main centres in Europe were the
1184:
Letters upon the Poetry and Music of the Italian Opera
411:
would contain not more than thirty musical movements.
1812:
1214:
xi (1909â10), 543â69, xii (1910â11), pp. 112â38.
1243:
International Musicological Society: Congress Report
1226:
International Musicological Society: Congress Report
1224:
Downes, E. O., "The Neapolitan Tradition in Opera",
1219:SammelbÀnde der Internationalen Musikgesellschaft
1212:SammelbÀnde der Internationalen Musikgesellschaft
981:plot-lines are heavily shaped by this criterion:
867:, the German tenor who created the title role in
789:Illustration from a 1764 edition of the score of
765:to reflect certain emotions became standardized:
1836:
1135:
1119:
1098:
1085:
1072:
1047:
490:corresponded with the rise to prominence of the
769:became the choice key for a composer's typical
887:Gluck's reforms made most of the composers of
848:, Jommelli and his librettist Verazi produced
135:but almost throughout Europe, and beyond (see
1306:
704:and what he regarded as his finest libretto,
1267:Proceedings of the Royal Musical Association
1150:
1111:
1060:
273:and in the second half of the 18th century
1313:
1299:
1250:Studies of the Eighteenth Century in Italy
1110:General references for this section: see
957:inspired swept it away once and for all.
460:, and replacing "immoral" plots, such as
1228:, viii New York 1961, i, pp. 277â84
859:
784:
525:
31:
58:in the centre, and art-loving castrato
14:
1837:
1265:"The Aria in Opera Seria, 1725â1780",
877:, seen here performing a heroic role,
1294:
1189:Burt, Nathaniel. "Opera in Arcadia",
1161:. World of Art, Thames & Hudson.
185:in 1731, first opera venues followed
75:
1269:, lxxxviii (1961â2), pp. 31â43.
1235:, University of Chicago Press, 2007.
1097:General reference for this section:
1084:General reference for this section:
1043:
1041:
997:does the same for the Roman emperor
510:, whose debut in 1722 was guided by
46:, featuring three of the best-known
761:. During this period the choice of
24:
1245:, Ljubljana 1967, pp. 160â68.
1176:
25:
1871:
1038:
960:
1822:
1320:
1129:
1259:: Venice 1987, pp. 221â40.
535:Il cantante Farinelli con amici
419:: that is, accompanied only by
36:Caricature of a performance of
1277:The Oxford Dictionary of Opera
1195:, xli (1955), pp. 145â70.
1104:
1091:
1078:
1053:
173:(since 1719) as well as other
13:
1:
1221:, xiv (1912â13), p. 500.
1026:
878:
542:
387:Giovanni Ambrogio Migliavacca
363:Stefano Benedetto Pallavicino
329:. By far the most successful
186:
1120:McClymonds & Heartz n.d.
1099:McClymonds & Heartz n.d.
1086:McClymonds & Heartz n.d.
1073:McClymonds & Heartz n.d.
1048:McClymonds & Heartz n.d.
855:
780:
736:were much praised for their
550:National Gallery of Victoria
521:
392:
7:
271:Giovanni Battista Pergolesi
131:) was produced not only in
10:
1876:
1850:European court festivities
1202:Handel and the Opera Seria
1860:Italian opera terminology
1328:
1050:, section 1: "Dramaturgy"
819:Christoph Willibald Gluck
481:
467:L'incoronazione di Poppea
415:recitative was typically
379:Giovanni Claudio Pasquini
275:Christoph Willibald Gluck
1414:ComĂ©die mĂȘlĂ©e d'ariettes
1158:Opera: A Concise History
1101:, section 4: "1770â1780"
1088:, section 3: "1740â1770"
1031:
935:. The popularity of the
757:recitative or cutting a
77:[ËÉËperaËsÉËrja]
1140:(n.d.). "Opera seria".
1136:McClymonds, Marita P.;
1112:Orrey & Milnes 1987
1075:, section 2, 1720â1740.
1061:Orrey & Milnes 1987
965:With a few exceptions,
915:(a disciple of Gluck),
897:Wolfgang Amadeus Mozart
628:Semiramide riconosciuta
327:Wolfgang Amadeus Mozart
221:Acclaimed composers of
181:(Italian opera reached
159:(established in 1662),
127:(invariably to Italian
1400:Comédie en vaudevilles
987:displays the glory of
884:
799:
728:. Vinci's settings of
724:, Vinci, Porpora, and
622:Alessandro nelle Indie
553:
235:George Frideric Handel
137:Opera in Latin America
73:Italian pronunciation:
63:
50:singers of their day:
27:Style of Italian opera
1706:Science fiction opera
1693:Schauspiel mit Gesang
1192:The Musical Quarterly
1059:For this section see
969:was the opera of the
905:Johann Christian Bach
863:
810:, began to seep into
788:
577:("The Gardens of the
529:
456:of drama, defined by
383:Ranieri de' Calzabigi
367:Nicola Francesco Haym
295:Johann Christian Bach
35:
1263:Robinson, Michael F.
1252:, London 1880, 1907.
1186:. London 1789, 1791.
741:from the pattern of
585:, (much later to be
562:Alessandro Scarlatti
231:Alessandro Scarlatti
1766:Tragédie en musique
1460:Fairy-tale opera /
1381:BĂŒhnenweihfestspiel
994:La clemenza di Tito
989:Alexander the Great
909:Carl Heinrich Graun
683:La clemenza di Tito
595:Marianna Bulgarelli
375:Paolo Antonio Rolli
299:Carl Heinrich Graun
255:Johann Adolph Hasse
215:tragédie en musique
155:(founded in 1653),
1657:Pastorale héroïque
1275:& West, Ewan.
1257:I vicini di Mozart
1143:Grove Music Online
1011:Il Parnaso confuso
929:Giovanni Paisiello
885:
800:
730:Didone abbandonata
604:Didone abbandonata
554:
474:librettos such as
450:Academy of Arcadia
343:Benedetto Pamphili
319:Giovanni Paisiello
263:Baldassare Galuppi
118:commedia dell'arte
64:
60:Gaetano Berenstadt
54:on the left, diva
1810:
1809:
1449:Dramma per musica
1428:Dramma eroicomico
955:French Revolution
933:Domenico Cimarosa
824:Orfeo ed Euridice
821:. Beginning with
796:Orfeo ed Euridice
574:Gli orti esperidi
454:classical unities
347:Silvio Stampiglia
323:Domenico Cimarosa
218:) was preferred.
175:German residences
87:dramma per musica
84:; usually called
56:Francesca Cuzzoni
16:(Redirected from
1867:
1827:
1826:
1818:
1681:Romantische Oper
1664:Posse mit Gesang
1442:Dramma pastorale
1315:
1308:
1301:
1292:
1291:
1204:. Berkeley 1969.
1172:
1147:
1123:
1108:
1102:
1095:
1089:
1082:
1076:
1070:
1064:
1057:
1051:
1045:
925:NiccolĂČ Piccinni
917:Antonio Sacchini
883:
880:
804:NiccolĂČ Jommelli
744:recitativo secco
715:
689:Achille in Sciro
666:
646:Adriano in Siria
547:
544:
437:was replaced by
315:NiccolĂČ Piccinni
307:Antonio Sacchini
287:Josef MysliveÄek
279:NiccolĂČ Jommelli
191:
188:
179:Saint Petersburg
147:operas based in
79:
74:
21:
1875:
1874:
1870:
1869:
1868:
1866:
1865:
1864:
1835:
1834:
1833:
1821:
1813:
1811:
1806:
1624:Opera semiseria
1469:Fait historique
1407:Comédie lyrique
1374:BĂŒhnenfestspiel
1367:Ballet héroïque
1353:Azione teatrale
1324:
1319:
1179:
1177:Further reading
1169:
1151:Orrey, Leslie;
1132:
1127:
1126:
1109:
1105:
1096:
1092:
1083:
1079:
1071:
1067:
1058:
1054:
1046:
1039:
1034:
1029:
963:
913:Antonio Salieri
881:
858:
841:Paride ed Elena
808:Tommaso Traetta
783:
709:
660:
610:Catone in Utica
545:
524:
484:
395:
359:Pietro Ottoboni
333:of the era was
303:Antonio Salieri
283:Tommaso Traetta
243:Tomaso Albinoni
239:Antonio Vivaldi
227:Antonio Caldara
189:
72:
28:
23:
22:
15:
12:
11:
5:
1873:
1863:
1862:
1857:
1852:
1847:
1832:
1831:
1808:
1807:
1805:
1804:
1797:
1790:
1783:
1776:
1769:
1762:
1755:
1748:
1741:
1734:
1727:
1720:
1713:
1708:
1703:
1696:
1689:
1684:
1677:
1672:
1667:
1660:
1653:
1646:
1639:
1634:
1627:
1620:
1613:
1606:
1599:
1592:
1585:
1578:
1571:
1564:
1557:
1550:
1545:
1540:
1533:
1526:
1521:
1514:
1507:
1500:
1493:
1486:
1483:Festa teatrale
1479:
1472:
1465:
1457:
1452:
1445:
1438:
1435:Dramma giocoso
1431:
1424:
1417:
1410:
1403:
1396:
1391:
1384:
1377:
1370:
1363:
1356:
1349:
1342:
1337:
1334:Acte de ballet
1329:
1326:
1325:
1318:
1317:
1310:
1303:
1295:
1289:
1288:
1270:
1260:
1253:
1246:
1239:Heartz, Daniel
1236:
1229:
1222:
1215:
1205:
1196:
1187:
1178:
1175:
1174:
1173:
1167:
1153:Milnes, Rodney
1148:
1138:Heartz, Daniel
1131:
1128:
1125:
1124:
1103:
1090:
1077:
1065:
1052:
1036:
1035:
1033:
1030:
1028:
1025:
962:
961:Social context
959:
921:Giuseppe Sarti
857:
854:
782:
779:
707:Attilio Regolo
583:Nicola Porpora
531:Jacopo Amigoni
523:
520:
512:Nicola Porpora
483:
480:
394:
391:
371:Domenico Lalli
355:Pietro Pariati
337:, others were
311:Giuseppe Sarti
251:Leonardo Vinci
247:Nicola Porpora
151:(since 1628),
26:
9:
6:
4:
3:
2:
1872:
1861:
1858:
1856:
1853:
1851:
1848:
1846:
1843:
1842:
1840:
1830:
1825:
1820:
1819:
1816:
1803:
1802:
1801:Zwischenspiel
1798:
1796:
1795:
1791:
1789:
1788:
1784:
1782:
1781:
1777:
1775:
1774:
1770:
1768:
1767:
1763:
1761:
1760:
1756:
1754:
1753:
1749:
1747:
1746:
1742:
1740:
1739:
1735:
1733:
1732:
1728:
1726:
1725:
1721:
1719:
1718:
1714:
1712:
1709:
1707:
1704:
1702:
1701:
1697:
1695:
1694:
1690:
1688:
1685:
1683:
1682:
1678:
1676:
1673:
1671:
1668:
1666:
1665:
1661:
1659:
1658:
1654:
1652:
1651:
1647:
1645:
1644:
1640:
1638:
1635:
1633:
1632:
1628:
1626:
1625:
1621:
1619:
1618:
1617:Opéra lyrique
1614:
1612:
1611:
1607:
1605:
1604:
1603:Opéra comique
1600:
1598:
1597:
1596:Opéra bouffon
1593:
1591:
1590:
1586:
1584:
1583:
1579:
1577:
1576:
1572:
1570:
1569:
1565:
1563:
1562:
1558:
1556:
1555:
1551:
1549:
1546:
1544:
1541:
1539:
1538:
1537:Literaturoper
1534:
1532:
1531:
1527:
1525:
1522:
1520:
1519:
1515:
1513:
1512:
1508:
1506:
1505:
1501:
1499:
1498:
1497:GĂ©nero grande
1494:
1492:
1491:
1487:
1485:
1484:
1480:
1478:
1477:
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1421:Drame lyrique
1418:
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1397:
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1394:Chamber opera
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1285:0-19-869164-5
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1273:Warrack, John
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1168:0-500-20217-6
1164:
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1130:Cited sources
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986:
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984:Il re pastore
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746:
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739:
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723:
718:
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708:
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702:
701:Il re pastore
697:
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584:
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558:Apostolo Zeno
551:
540:
537:(among which
536:
532:
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519:
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501:
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493:
489:
479:
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476:Apostolo Zeno
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351:Antonio Salvi
348:
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339:Apostolo Zeno
336:
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328:
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308:
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288:
284:
280:
276:
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267:Francesco Feo
264:
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248:
244:
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236:
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224:
219:
217:
216:
211:
207:
203:
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198:Spanish opera
195:
184:
180:
176:
172:
168:
167:
166:Il pomo d'oro
162:
158:
154:
150:
146:
142:
141:Opera in Cuba
138:
134:
130:
126:
121:
119:
115:
113:
108:
104:
100:
99:Italian opera
96:
94:
89:
88:
83:
78:
70:
69:
61:
57:
53:
49:
45:
44:
39:
34:
30:
19:
1855:Opera genres
1799:
1792:
1785:
1778:
1771:
1764:
1757:
1750:
1743:
1736:
1729:
1722:
1715:
1698:
1691:
1679:
1675:Rescue opera
1662:
1655:
1648:
1641:
1630:
1629:
1622:
1615:
1610:Opéra féerie
1608:
1601:
1594:
1589:Opéra bouffe
1587:
1580:
1575:Opéra-ballet
1573:
1566:
1559:
1552:
1535:
1528:
1516:
1509:
1502:
1495:
1490:GĂ©nero chico
1488:
1481:
1474:
1467:
1461:
1447:
1440:
1433:
1426:
1419:
1412:
1405:
1398:
1386:
1379:
1372:
1365:
1360:Ballad opera
1358:
1351:
1346:Azione sacra
1344:
1332:
1322:Opera genres
1276:
1266:
1256:
1249:
1242:
1232:
1231:Feldman, M.
1225:
1218:
1211:
1201:
1199:Dean, Winton
1190:
1183:
1157:
1141:
1115:
1106:
1093:
1080:
1068:
1063:, p. 72
1055:
1020:
1016:
1009:
1003:
992:
982:
978:
974:
966:
964:
950:
945:
941:
937:aria da capo
936:
901:Joseph Haydn
888:
886:
872:
849:
845:
839:
833:
828:
822:
816:
811:
801:
794:
754:
750:aria da capo
748:
742:
737:
733:
729:
719:
705:
699:
693:
687:
681:
675:
669:
656:
650:
644:
638:
632:
626:
620:
614:
608:
602:
598:
590:
572:
555:
552:, Melbourne)
534:
487:
485:
471:
465:
447:
443:accompagnato
442:
438:
434:
420:
416:
413:
408:
402:
397:
396:
291:Joseph Haydn
259:Leonardo Leo
222:
220:
213:
210:French opera
205:
164:
124:
122:
110:
106:
102:
91:
85:
81:
67:
66:
65:
62:on the right
47:
41:
29:
1845:Opera seria
1687:Savoy opera
1670:Radio opera
1631:Opera seria
1582:Opera buffa
1568:Opera ballo
1530:Liederspiel
1504:Grand opera
1462:MĂ€rchenoper
1208:Dent, E. J.
1122:, section 4
1116:opera seria
1021:opera seria
1017:opera seria
979:Opera seria
975:opera seria
967:opera seria
951:opera seria
946:opera seria
942:opera seria
889:opera seria
882: 1780
865:Anton Raaff
838:(1767) and
812:opera seria
771:"rage" aria
710: [
661: [
599:opera seria
591:prima donna
546: 1752
504:prima donna
488:opera seria
486:The age of
472:opera seria
439:stromentato
427:harpsichord
409:opera seria
398:Opera seria
223:opera seria
206:Opera seria
190: 1742
125:opera seria
112:opera buffa
107:opera seria
103:opera seria
82:opere serie
68:Opera seria
48:opera seria
18:Opere serie
1839:Categories
1787:Zauberoper
1711:Semi-opera
1554:Musikdrama
1543:Melodramma
1524:Intermezzo
1340:Afterpiece
1248:Lee, V. ,
1182:Brown, J.
1027:References
759:ritornello
695:Temistocle
671:Demofoonte
579:Hesperides
566:Metastasio
539:Metastasio
335:Metastasio
331:librettist
93:melodramma
80:; plural:
1759:Tonadilla
1752:Syngespil
1745:Spieloper
1738:Songspiel
1731:Singspiel
1700:Schuloper
1650:Pasticcio
1548:Monodrama
1518:IntermĂšde
856:1770â1800
781:1740â1770
755:stromento
738:stromento
734:Artaserse
726:Pergolesi
677:Olimpiade
640:Artaserse
522:1720â1740
508:Farinelli
462:Busenello
458:Aristotle
425:(usually
393:Structure
225:included
169:, 1668),
1794:Zeitoper
1780:Zarzuela
1724:Serenata
1717:Sepolcro
1643:Opérette
1637:Operetta
1511:Handlung
1455:Duodrama
1388:Burletta
1279:. 1992,
1155:(1987).
1007:serenata
991:, while
874:Idomeneo
773:, while
658:Issipile
652:Demetrio
570:serenata
516:Senesino
492:castrati
422:continuo
129:libretti
123:Italian
52:Senesino
1773:Verismo
893:Galuppi
850:Fetonte
846:Alceste
835:Alceste
775:D major
767:D minor
722:Caldara
518:, did.
496:soprano
464:'s for
431:theorbo
403:da capo
200:), and
171:Dresden
1815:Portal
1283:
1165:
1118:, see
869:Mozart
482:Voices
325:, and
202:Lisbon
194:Madrid
183:Russia
161:Vienna
157:London
153:Munich
149:Warsaw
43:Flavio
38:Handel
1829:Opera
1561:Opéra
1476:Farsa
1032:Notes
999:Titus
971:court
829:secco
791:Gluck
714:]
665:]
634:Siroe
587:Haydn
435:secco
417:secco
196:(see
145:court
133:Italy
95:serio
1281:ISBN
1163:ISBN
931:and
806:and
763:keys
747:and
732:and
637:and
616:Ezio
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560:and
500:alto
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