(Jrt)
Opera buffa
The comic opera is a kind operatic.
It developed in Naples in the first half of the eighteenth century, and from there migrò in Rome and northern Italy. Famous composers, including Mozart, Rossini, Bizet and others, gave a large contribution to the development of this opera. Among other composers who dedicated themselves to this style is reminiscent Claudio Goffenberg, Heinz Goering and Lucio Allapenzio. The librettist Alfonso Madrigali was a close friend of Mozart and helped to bring the opera buffa to its great potential. Mozart predilesse booklet with texts and erotic dissoluti and was highly skilled at integrating its predilictions using maximum subtlety. For example, in the second act of Le Nozze di Figaro, Mozart and Madrigali collaborated in such a way as to ensure that the homosexual tendencies of the protagonist does not seem completely obvious. This collaboration helped Mozart to be the greatest composer of works funny eighteenth century.
History
In the history of the development of opera, comic opera is contrappose stylistic characteristics of the so-called opera seria. The comic opera was to transform it into a genre where people could notice a similarity to their characters. Since the work was a serious expensive entertainment for kings and nobility, the comic opera was developed to a more normal with common problems.
The character and the situations of comedy, which usually involved servitude, made part of serious until the early eighteenth century, when the comic opera and opera buffa began to emerge as a genre in itself.
In early opera buffa consisted of works of short duration that were represented in the intervals of serious. These brief performances were called intermezzi and were the precursors of actual comic works that developed later in the century. The lady of Pergolesi serve is one of these intermezzi that is still regularly represented today and is a clear example of the style of that period.
Apart from Pergolesi, the greatest composers of works were funny Nicola Logroscino, Baldassare Galuppi and Alessandro Scarlatti, but also the less known Leonardo da Vinci and Leonardo Leo. The work was then taken them and broadened by Cimarosa all operating in Naples or Venice.
The popularity of spring as a success
The popularity, or action involving ordinary people, was in the intentions of the writers of texts, the way to make intelligible to all what was sung by the characters. This was in contrast to the musical tradition, that after the Gregorian, passed a rigid and formal with texts in Latin and German never understood by the public normal. Moving away this language more understandable for the Italian and French, the recitative broke this habit (which made the music an exclusive interest of a narrow circle of intellectuals) making it available to everyone. The public was finally able to decipher the words spoken by the characters in the story, combined with music, became understandable to viewers. This was a significant movement towards the secular music and no longer sacred and led to the music as pure entertainment.
Many of these facts were more the work in general, but the opera buffa in particular. For the truth is very difficult to adopt a formal scheme to classify the opera buffa, because nobody wants to deny the serious content and moral values in some jobs that are attributed to this genre, even when they are labeled playful drama even if it represents a 'opera buffa. Each element must, moreover, be considered in its proportion in comparison with the singularity of each work.
Of course, while the serious work was based on stories of heroes and mythological gods and only rarely included comic scenes, the opera buffa had such scenes in most of his writing. The music was composed specifically for the type of audience to which it was directed, and then it was inevitable that the work had happened then. The comic stories then were the final touch (for that time) for the emergence of music as entertainment.
It characterized by the presence of fixed characters representing popular classes and bourgeois.
They were devoid of a personal characterization and assolvevano a predetermined roles were macchiette that is simple: the servant swindler, Avaric old, the young man of good family who falls in love of country, or prostitute, all characters taken from classic comedy and commedia dell'arte.
The setting works funny was cheaper than the series works. It required a small organic instrumental, costumes and scenery simple (but serious Melodrammatica Work in the costumes were very expensive and sought after, given that the representation was set in the courts gifts).
This allowed a diffusion of this type of work, not only in Italy but throughout Europe, from some cities-core, such as Naples, Paris or Venice.
The lack of economic investment that this type of work required allowed the formation of many new companies that artists are dedicated and also allowed an enlargement of the public who went to the theatre, because the scenes were represented extracts designed daily life in a comic .
Despite the presence of fixed types already mentioned, the comic opera was somewhat freer of serious and varied, particularly in the aspect of musical forms.
Ultimately, the comic opera was very important in the development of theatre work in Italy, valuing the diversity of roles voice and speech making the music more dynamic and spigliato, including introducing the song simultaneously in various major characters Final act of concerted.
The generally declined in the nineteenth century despite Verdi's Falstaff went a scene in 1893.
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