![]() ![]() It is when the messages were no longer wanted that opera seria began its seemingly terminal decline. The peak of this serious style was reached with the polished libretti of Pietro Metastasio (1698-1782). Music and text were especially close in the way they meshed to create this. These three components act together to "teach" and edify the audience. There is a way of dividing opera into three parts: the text, the music, and the visual. 1) This claim then makes opera seria a rhetorical genre with a message to send across to the listeners. Germain Bazin suggests that "rhetoric was at the centre of baroque thinking and therefore all the arts". Other than France, with its own national opera, the Italian one was produced not only in Italy but in England, the German states, Spain, Hapsburg Austria, and other countries. ![]() What can account for the decline in interest? Opera seria or serious opera was the predominant type of Italian opera and musical form in the 18th century. The 1995 French/Belgium film Farinelli dealt specifically with one of the great castrato singers of Baroque Italian opera and in a way represents a peculiar surge of interest in this once ignored genre of music. Of that neglected half, the Italian operas of the late seventeenth and early eighteenth centuries are the most ignored. 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. Gluck (1714-1787) or the comic operas of Wolfgang Amadeus Mozart (1756-1791). Until very recently the earliest operas one could hear were the "reform" operas by Christoph W. ( conceived at the University of British Columbia, March 11, 1996.Įighteenth-century opera is one part of the operatic repertoire that is rarely given a regular staging. ![]()
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