Opera is the combination of drama and music. Like drama, opera embraces the entire spectrum of theatrical elements: dialogue, acting, costumes, scenery and action, but it is the sum of all these elements, combined with music, which defines the art form called opera. Operatic dramas are usually serious, but there are several comic operas and funny scenes in tragic operas. The music is usually complicated and difficult to sing well. Only the most skillful singers can handle it.
Shows will become even more interactive, adaptable, personal, and modular. All in all, we are seeing a transformation in opera. The challenge lies in keeping the essence of the art of opera and striking a balance between modernization and preservation, so that it can continue to engage its audience yet distinguishes itself from all other types of musical performances.
Bellini like many of the composers in this time was born in Italy. During the nineteenth century, opera stories most of the time was had a theme of passion and romance. That is one of the reasons that this century is also called Romantic Era. What is opera? Opera is a theatrical work that was set to music for people to sing.
Yes, they both include music but in Operas it is all singing or mostly singing. In Musicals it is basically a play that involves music. Broadway has a lot of musicals spanning from Phantom of the Opera to Annie. Most Operas when they sing they are in “German, French, Italian, Czech, Russian…” (Opera 101) in opera there are translations for people that don’t know the language and also so they can follow along with the story. In Musicals they are mostly in the native tongue of the audience they are performing for.
This base of reality is common to both Magical Realism as well as Fantastic literature. The attitudes of the characters are also very realistic. At the masked ball, the Parisians take part whole heartedly, accepting the idea of masking their identity as the normal ball activity. In today's time, the dressing incognito idea is an unusual one. The characters do not accept the idea of the "Opera Ghost" as a real ghost and many exhibit a disbelief, as they would in rea... ... middle of paper ... ...re into a masterpiece that would be famous for almost one hundred years after its publication date.
The history of opera has imitated the “current trends” of music and drama during the era it was composed. New developments in architecture and painting have been seen in set designs and opera houses throughout Europe. “A feature unique to opera, however, is the power of music, particularly that written for the several registers of the human singing voice.”(www.metmuseum.org) The actor’s voice range portrays the character’s emotion. For example, if the character is afraid or excited their voice tone goes up. If they are serious or authoritative their voice goes down to a lower pitch.
“Opera is fraught with contradictions: between the composer’s intentions and their realisation by the performers; in the function of an opera audience, which takes part in a social performance that has often rivalled the performance on stage; and between the demands of ‘authenticity’ and the need for creative interpretation in performing older works.” (Raeburn, 2007, p. 8) The development of opera practices in the seventeenth and eighteenth century is evidently affected by social, political, economic and cultural currents. The earliest ... ... middle of paper ... ...ntury opera showed the value of music over text. Though operatic practices had evolved greatly over a span of a hundred years, regardless the era, “Opera, by contrast, is notable for the multiplicity of forces that must be brought together openly for its making – for example, the financial powers that provide for its lavish needs; the diverse and often warring talents, drawn from a number of arts, who are expected to work together to create and perform its texts; the audiences who use it to satisfy both their aesthetic and their social cravings…The history of opera is thus not simply a conventional history of shifting period styles and competing national traditions, for it must accommodate countless “nonaesthetic” elements that help shape these styles and that these styles sometimes even shape in return.” (Lindenberger, Opera, The Extravagant Art, 1984, pp. 235-236)
Many of the operas written during this time are still performed today and are highly acclaimed. For the most part, before Italy became a main player, France and Germany were the main areas for music. These composer’s lives were extremely important in the development of the romantic period of opera and they really put Italy in the eye of the public for their amazing operas and musical styles. “Bel canto,” which translated literally means “beautiful singing,” was a very important factor taken into consideration in the romantic era. According to Charles Osborne, bel canto singing can be defined as “a method of singing taught by the Italian masters […] in which smooth emission of tone, beauty of timbre and elegance of phrasing are among the most important elements (Osborne, intro).” The main style of voice for this “bel canto” singing is the coloratura.
After watching this opera I became much more familiar with The New City Opera and the Lincoln Center Opera House. I not only learned much more about opera itself; I also was able to discover a new personal musical liking. I have a found a new love interest in the opera. It is true to say that music has a large emotional effect on one's self. After exiting the opera I was in a completely different mind set than I was upon entering.
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.