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31 Cards in this Set
- Front
- Back
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Recitativo accompagnato
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usually just strings, emphasized after Algarotti's reforms
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Metastasian Opera Seria
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* Flowery language
* Highborn feeling * Lieto fine (happy ending) * 6 characters * Arcadian: elevated 3 Acts (Exposition Development, Denouement) * Magnanimous gesture resolves conflict (shows people as they should be) * 5-6 arias per character, show 1 emotion |
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Francesco Algarotti
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(1712-1764) Englightenment writer on opera, poet
*librettist/director *treatise on opera which influenced Gluck in 1754 Reforms: * Overture should anticipate opera *accompagnato recit. *less ornamentation * cut out ritornelli & repetition *unifying poetic idea (shoudl be exotic & stylized) * include ballet & spectacles |
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Intermezzo
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2 Act Comedy in btwn play/ballet/seria
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Pietro Metastasio
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(1698-1782), opera reformer & librettist (extremely influential)
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Christoph Willibald Gluck
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* Assimilated French & Viennese styles (no florid arias, large chorus)
Reforms: * Unity of text & music * Simplified libretto (more 'Greek'/classical') * elements of ballet & ortatorio IN LINE with the action |
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Ranieri de Calzabigi
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(1714-1795) librettist who worked on Gluck's reform arias (from Baroque to Classical)
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Opera Buffa: Full legnth
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current paradoies of current issues
*eventually, a mixture with serai (eg. Don Giovanni) |
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Opera Buffa: Intermezzo
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Thrived 1700-1730, from renaissance intermedia
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Opera Buffa
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* Moral instruction by parody (esp. authority figures)
* everyday-life (not mythology) * dialogue in btwn (not Italian) * more emphasis on diction & acting than vocalisms * more ensembles |
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Commedia dell'arte
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* Loved disguises & cross-dressing
* night scenes, risque situations, love triangles * lazzi - physical sticks * Characters: Dr, Pantalone (old, epicurean, butt of jokes, Captain, Zanni, Punchinello (rascal), Columbina * Only way to poke fun at authority figures |
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Carlo Goldoni
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(1707-1793) Venetian dramatist & librettist
* wanted to elevate opera buffa (more structure, language, satire, real life) *everything about the story (thus less sticks & physical tricks) |
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Singspiel
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play w/popular songs (ballad opera)
Northern: based on opera comique, sentimental, based on German folklore, folk-songs Southern: ridiculed the supernatural, parfical plots w/social significance |
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Charles-Simon Favart
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tried to reform l'oper comique to be more interesting, universal, true to the story
*Bastien & Bastienne **Wife wore outfits instead of gowns |
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Serenata
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* companion piece to a major work
* Celebrates a specific event * idealized the royalty * You could easily identify the real-life characters * in parts, not acts |
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Licenza
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prologue linking the show to a specific event/specific people
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Giuseppe Parini
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Librettist for La Clemenza di Tito
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Giuseppe Petrosinelli
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Librettist for La finta giardiniera (based on the Pamela story)
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Opera Buffa: Vocal writing/instrumentation
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'patter-y' vocal line, country dance, funny contrasts int he orchestra
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recitativo secco
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Dry recit, only w/continuo, rhythm is purely syllabic
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Empress Maria Theresa
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Hated Leopold, ruled in Vienna (1717-1780) Hapsburg ruled of Austrio-Hungary Empire
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Johann Christian Bach
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1735-1782, influenced M, especially La Clemenza di Tito
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Giovanni Battista Martini
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Tutored Mozart in counterpoint, Italy's greatest Baroque theorist, in Bologna
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Jean-Jacques Rousseau
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Influential enlightenment figure and humanist
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Prince-Archbishop Sigismund Schrattenbach
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Saltzburg prince, supported Mozart's journeys, employed Leopold & Waolfgang
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Friedrich Melchior Grimm
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German in Paris, family friend who tried to make Mozart's tour successful
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Vittorio Cigna-Santi
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Wrote Mitridate, Re di Ponto
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Tobias Philipp von Gebler
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Wrote libretto for Thomas, Konig in Egypt (failed singspiel)
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Rufinus Widl
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Wrote libretto for Apollo et Hyacinthus
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Marco Coltellini
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Revised libretto of La finta semplice (written by Goldoni)
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Giovanni De Gamerra
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Librettist for Lucio Silla
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