How would feel if you were in the La Scala opera house, listening to a Vincenzo Bellini operas. Would it be warm felt or just would be nice to be there. To know that there is people out there that can sing with the power and flexibility that they can do. Vincenzo Bellini is one of the many opera composers that the nineteenth century had to offer (The National Opera Center America). Bellini like many of the composers in this time was born in Italy.
At first, the music was used mainly for background. However, by the end of the century, the drama and the music were equally important. The opera innovation inspired some of the biggest composers known today. In France, Je... ... middle of paper ... ...); and Puccini’s Madame Butterfly (1904); to list just a few. Famous recording opera stars include Enrico Caruso, Maria Callas, Dame Joan Sutherland, Dame Kiri Te Kanawa, Plácido Domingo, Luciano Pavarotti, and José Carreras.
Singing is one of the most highly enjoyed and respected forms of art for Italians. Opera began in Italy around 1600, and it is still an enormous part of the Italian spirit. Italians are zealous about opera and about good singing in general. Pictures of composers appear on national stamps, and streets in every town are named for musicians. Almost every small town has its own lyric theatre, and opera is programmed regularly on Italian radio and television.
Monteverdi’s opera, funded by Duke Vincenzo Gonzaga of Mantua, was already written for public presentation, and because of it quickly caught interest and continued to be used since its first performance, especially after being republished with alterations in its ending. Both Peri and Monteverdi, regardless of whether it was a public or private performance, took the tale of Orpheus and his journey into the underworld to bring his wife Euridice back to the living, altering sections of the story to create operas that would best suit their work. With similarities along with differences, both operas were well suited for the events they were written for, meeting their audiences’ expectations well by introducing and ending the myth quite differently. Both operas begin with a prologue, introducing the play through a single character to set the mood for the entirety of the opera. These two characters are respectively used as a source of forewarning for the audience to prepare them for whatever the story may present to them.
Italian literature, art, and music were greatly sought over. Opera continued to remain popular an... ... middle of paper ... ...ing from 433 B.C., and electric and acoustic Zithers exist as well. Those who play Zithers are known as Zitherists. The sacred music in Italy often changes out for styles that are more popular. A while back, were the Gregorian chant and Renaissance polyphony.
One of them was Giuseppe Tartini. His greatest influence was in the development of the concerto. Vivaldi has been credited with inventing or at least regularizing "ritornello form." This usually employed fast movements in which a "refrain" played by the full ensemble alternates with freer, modulatory episodes played by the solo instruments. Vivaldi’s deft coordination of melody and harmony was much admired by Johann Sebastian Bach who absorbed the Italian style through his study and transcription of his concertos and trio-sonatas.
Opera, is a formal medium of theatre that coneys its dramatic essence through the fusion of words and action, among other theatrical elements with music says author Burton D. Fisher (A History of Opera, 14). Opera is an art form with such a rich history and memorable music. Well, at least where Italian opera is concerned. Italy was and has been in the limelight concerning Opera since its genesis. In the 17th century, Italy set greek dramas, especially the tale of Orpheus, to music (A History of Opera, 17) and from there the Italians evolved such a distinctive art form and cornered the market on its popularity.
After Orfeo, L'Arianna (Mantua, 1608) became one of the most influential operas in Europe. Wildly popular, the Lamento d'Arianna was admired and imitated by composers until the end of the century. Two major works represent the culmination of Monteverdi's operatic output: Il Ritorno d'Ulise in Patria (The Return of Ulysses) (Venice, 1640), based on the final portion of Homer's Greek epic The Odyssey, and L'incoronazione di Poppea (The Coronation of Poppea)(Venice, 1642), set in imperial Rome in the time of Nero, whose love for the courtesan ... ... middle of paper ... ...avor of an English national style. Purcell, however, strongly resisted this trend, and, instead, he adopted Italian forms. In doing so, he established a foothold for opera in England, while simultaneously composing in all of the major genres.