The Evolution of Opera Seria

The Evolution of Opera Seria - aria Restrictions on...

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The Evolution of Opera Seria (“serious opera”) Theoretical Writings – satires on the faults and excesses of opera 1715: Pier Jacopo Martello, Della tragica antica e moderna (On Ancient and Modern Tragedy; includes a chapter on Italian and French opera) 1720: Benedetto Marcello, Il teatro alla moda (Fashionable Theater) The Arcadian Reform (from the Accademia degli Arcadi) Apostolo Zeno (1668-1750) Piero Metastasio (1698-1782), a close friend of the castrato Farinelli. They were referred to as “I Gemelli” (“Gemini”—the twins). He wrote hundreds of libretti, including Semiramide (which was set to music by CW Gluck in 1748) “lieto fine”: a happy ending Musical Reform (not until the 1760s) The death of the da capo
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Unformatted text preview: aria Restrictions on improvised ornamentation by singers Lyrical singing style Influence of French tragdie lyrique (tragic opera in French) 1762: Orfeo ed Euridice Libretto by Ranieri de Calzabigi Music by Christoph Willibald Gluck (1714-1787) Gluck moved to Paris in the early 1770s and began writing opera in French, including Iphignie en Aulide (1774) and Iphignie en Tauride (1779). In 1776, there was a French language production of his earlier Italian opera Alceste (from 1769). The preface to the score of Alceste is one of the most famous theoretical statements of opera serias reforms. 1780: Idomeneo Libretto by Abbate Varesco Music by Wolfgang Amadeus Mozart (1756-1791)...
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