{{Quote box2|width=340px|align=right|halign=left|title=Théâtre de la foire|title_bg=BlanchedAlmond|title_fnt=SaddleBrown|bgcolor=#FFFFFF|quote=[[File:Foire saint-germain.jpg|340px|right]]
{{Nobots}}{{Quote box2|width=340px|align=right|halign=left|title=Théâtre de la foire|title_bg=BlanchedAlmond|title_fnt=SaddleBrown|bgcolor=#FFFFFF|quote=[[File:Foire saint-germain.jpg|340 px|right]]
The Paris Foire St Germain, circa 1763, after the fire of 1762.
The Paris Foire St Germain, circa 1763, after the fire of 1762.
[[File:Foire saint-laurent.jpg|340px|right|]]
[[File:Foire saint-laurent.jpg|340 px|right|]]
Nicolet's theatre at the Foire St Laurent, circa 1786.<br><br>In the early 18th century, the [[Théâtre de la foire]] in [[Paris]] - a collective name for the theatres at the annual fairs at St Germain, St Laurent (see illustration below) and later, St Ovide - offered performances with both music and spoken dialogue. First called [[comédie en vaudeville]], these developed into the [[opéra comique]]. The Théâtre de la foire appeared in [[London]] in the 1720s, to be imitated in the form of the English [[ballad opera]], which in turn stimulated the creation of the German [[Singspiel]].}}This is an inclusive [[glossary]] '''list of opera genres''', giving alternative names.
Nicolet's theatre at the Foire St Laurent, circa 1786.<br><br>In the early 18th century, the [[Théâtre de la foire]] in [[Paris]] - a collective name for the theatres at the annual fairs at St Germain, St Laurent (see illustration below) and later, St Ovide - offered performances with both music and spoken dialogue. First called [[comédie en vaudeville]], these developed into the [[opéra comique]]. The Théâtre de la foire appeared in [[London]] in the 1720s, to be imitated in the form of the English [[ballad opera]], which in turn stimulated the creation of the German [[Singspiel]].}}This is an inclusive [[glossary]] '''list of opera genres''', giving alternative names.
'Opera' is an Italian word (short for 'opera in musica'), however it was not ''commonly'' used in Italy (or indeed in other countries) to refer to the genre of particular works. Most composers used more precise designations to present their work to the public. Often specific genres of opera were commissioned by theatres or patrons (in which case the form of the work might deviate more or less from the genre norm, depending on the inclination of the composer). Opera genres are not exclusive. Some operas are regarded as belonging to several. In the case of doubt the only authority is, ultimately, the composer himself.<ref>For example, [[Don Giovanni]] is regularly referred to as both a [[dramma giocoso]] and an [[opera buffa]], however [[Wolfgang Amadeus Mozart|Mozart]] himself called the work an [[opera buffa]].</ref>
'Opera' is an Italian word (short for 'opera in musica'), however it was not ''commonly'' used in Italy (or indeed in other countries) to refer to the genre of particular works. Most composers used more precise designations to present their work to the public. Often specific genres of opera were commissioned by theatres or patrons (in which case the form of the work might deviate more or less from the genre norm, depending on the inclination of the composer). Opera genres are not exclusive. Some operas are regarded as belonging to several. In the case of doubt the only authority is, ultimately, the composer himself. <ref> For example, [[Don Giovanni]] is regularly referred to as both a [[dramma giocoso]] and an [[opera buffa]], however [[Wolfgang Amadeus Mozart|Mozart]] himself called the work an [[opera buffa]].</ref>
====Definitions====
====Definitions====
Opera genres have been defined in different ways, not always in terms of stylistic rules. Some, like [[opera seria]], refer to traditions identified by later historians<ref>McClymonds, Marita P and Heartz, Daniel: "Opera seria" in ''The [[New Grove Dictionary of Opera]]'', ed. [[Stanley Sadie]] (London, 1992) ISBN 0-333-73432-7</ref>, while others, like [[Zeitoper]], have been defined by their own inventors. Other forms have been associated with a particular theatre, for example [[opéra comique]] at the [[Opéra-Comique|theatre of the same name]], or [[opéra bouffe]] at the [[Théâtre des Bouffes Parisiens]].
Opera genres have been defined in different ways, not always in terms of stylistic rules. Some, like [[opera seria]], refer to traditions identified by later historians <ref> McClymonds, Marita P and Heartz, Daniel: ''Opera seria'' in 'The [[New Grove Dictionary of Opera]]', ed. Stanley Sadie (London, 1992) ISBN 0-333-73432-7 </ref>, while others, like [[Zeitoper]], have been defined by their own inventors. Other forms have been associated with a particular theatre, for example [[opéra comique]] at the [[Opéra-Comique|theatre of the same name]], or [[opéra bouffe]] at the [[Théâtre des Bouffes Parisiens]].
This list does not include terms that are unhistorical, or vague and merely descriptive, such as 'rescue opera'<ref>"'Rescue opera' is an unhistorical term of limited usefulness. It is not an authentic genre like 'opera buffa', and was coined only in the later 19th or early 20th century", Charleton, David: "Rescue opera" in ''The New Grove Dictionary of Opera'', ed. Stanley Sadie (London, 1992)</ref>, 'comic opera'<ref>"A general name for an operatic work in which the prevailing mood is one of comedy." ''The Oxford Dictionary of Opera'', by John Warrack and Ewan West (1992), 782 pages, ISBN 0-19-869164-5</ref>, 'sacred opera', 'tragic opera' or 'one-act opera' etc. Original language terms are given to avoid the ambiguities that would be caused by English translations.{{clear}}
This list does not include terms that are unhistorical, or vague and merely descriptive, such as 'rescue opera' <ref> ''"'Rescue opera' is an unhistorical term of limited usefulness. It is not an authentic genre like 'opera buffa', and was coined only in the later 19th or early 20th century"'', Charleton, David: ''Rescue opera'' in 'The [[New Grove Dictionary of Opera]]', ed. Stanley Sadie (London, 1992) ISBN 0-333-73432-7</ref>, 'comic opera' <ref> ''"A general name for an operatic work in which the prevailing mood is one of comedy."'' ''The Oxford Dictionary of Opera'', by John Warrack and Ewan West (1992), 782 pages, ISBN 0-19-869164-5</ref>, 'sacred opera', 'tragic opera' or 'one-act opera' etc. Original language terms are given to avoid the ambiguities that would be caused by English translations.{{clear}}
==List==
==List==
{| class="wikitable sortable"
{| class="wikitable sortable"
!|Genre!!class="unsortable" width="36%"|Description!!|First known example!!class="unsortable"|Major works!!|Last known example!!class="unsortable"|Notable composers!!class="unsortable"|Refs.
!|Genre!!Language!!class="unsortable" width="36%"|Description!!|First known example!!class="unsortable"|Major works!!|Last known example!!class="unsortable"|Notable composers!!class="unsortable"|Refs.
|-
|-
| {{Section|Acte de ballet}}{{lang|fr|Acte de ballet}} || An [[opéra ballet]] consisting of a single entrée. 18th century. || || ''[[Les fêtes de Ramire]]'' (1745), ''[[Anacréon]]'' (1754), || || [[Jean-Philippe Rameau|Rameau]] ||<ref name=OD>Warrack, John and West, Ewan (1992), ''The Oxford Dictionary of Opera'', 782 pages, ISBN 0-19-869164-5</ref>
| {{Section|Acte de ballet}}Acte de ballet || [[French language|French]] || An [[opéra ballet]] consisting of a single entrée. 18th century. || || ''[[Les fêtes de Ramire]]'' (1745), ''[[Anacréon]]'' (1754), || || [[Jean-Philippe Rameau|Rameau]] || <ref name=OD>Warrack, John and West, Ewan (1992), ''The Oxford Dictionary of Opera'', 782 pages, ISBN 0-19-869164-5</ref>
|-
|-
| {{lang|en|[[Afterpiece]]}} || 18th/early 19th century short opera or pantomime performed after a full-length play. || || ''[[The Padlock]]'' (1768)|| || [[Charles Dibdin|Dibdin]] ||<ref name=OD />
| [[Afterpiece]] || [[English language|English]] || 18th/early 19th century short opera or pantomime performed after a full-length play. || || ''[[The Padlock]]'' (1768)|| || [[Charles Dibdin|Dibdin]] || <ref name=OD />
|-
|-
| {{Section|Azione sacra}}{{lang|it|Azione sacra}} || ''Literally'', 'sacred action'. 17th and early 18th century opera with religious subject. Performed at [[Vienna]] court. || || ''L'humanità redenta'' ([[Antonio Draghi|Draghi]], 1669) || || [[Antonio Draghi|Draghi]], [[Antonio Bertali|Bertali]], Pietro Andrea Ziani, Giovanni Battista Pederzuoli, [[Antonio Cesti|Cesti]] ||<ref name=OD />
| {{Section|Azione sacra}}Azione sacra || [[Italian language|Italian]] ||''Literally'', 'sacred action'. 17th and early 18th century opera with religious subject. Performed at [[Vienna]] court. || || ''L'humanità redenta'' ([[Antonio Draghi|Draghi]], 1669) || || [[Antonio Draghi|Draghi]], [[Antonio Bertali|Bertali]], Pietro Andrea Ziani, Giovanni Battista Pederzuoli, [[Antonio Cesti|Cesti]] || <ref name=OD />
| {{Section|Azione sepolerale}}Azione sepolerale || Italian ||''alternative name for'' azione sacra || || || || || <ref name=OD />
|-
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| {{Section|Azione scenica}}{{lang|it|Azione scenica}} || ''alternative name for'' azione teatrale || || ||{{Hs|1975}}''[[Al gran sole carico d'amore]]'' (1975)|| ||<ref name=OD />
| {{Section|Azione scenica}}Azione scenica || Italian ||''alternative name for'' azione teatrale || || ||{{Hs|1975}}''[[Al gran sole carico d'amore]]'' (1975)|| || <ref name=OD />
|-
|-
| {{lang|it|[[Azione teatrale]]}} (plural {{lang|it|''azioni teatrali'')}} || Small-scale one-act opera, or musical play. Early form of chamber opera. Popular in late 17th and 18th centuries. (See also ''[[festa teatrale]]'', a similar genre but on a larger scale.) || || ''[[Le cinesi]]'' (1754), ''[[Il sogno di Scipione]]'' (1772), ''[[L'isola disabitata]]'' (1779) || || [[Christoph Willibald Gluck|Gluck]], [[Wolfgang Amadeus Mozart|Mozart]], [[Joseph Haydn|Haydn]]||<ref name=OD />
| [[Azione teatrale]] (plural ''azioni teatrali'')|| Italian || Small-scale one-act opera, or musical play. Early form of chamber opera. Popular in late 17th and 18th centuries. (See also ''[[festa teatrale]]'', a similar genre but on a larger scale.) || || ''[[Le cinesi]]'' (1754), ''[[Il sogno di Scipione]]'' (1772), ''[[L'isola disabitata]]'' (1779) || || [[Christoph Willibald Gluck|Gluck]], [[Wolfgang Amadeus Mozart|Mozart]], [[Joseph Haydn|Haydn]]|| <ref name=OD />
|-
|-
| {{lang|en|[[Ballad opera]]}} || Entertainment originating in 18th-century [[London]] as a reaction against Italian opera. Early examples used existing popular ballad tunes set to satirical texts. Also popular in [[Dublin]] and America, Influenced the German [[Singspiel]], and subsequently 20th-century opera. ||{{Hs|1728}}''[[The Beggar's Opera]]'' (1728) || ''[[Love in a Village]]'' (1762), ''[[Hugh the Drover]]'' (1924), ''[[The Threepenny Opera]]'' (1928) || || [[Johann Christoph Pepusch|Pepusch]], [[Charles Coffey|Coffey]], [[Thomas Arne|Arne]], [[Kurt Weill|Weill]] ||<ref name=OD />
| [[Ballad opera]] || English ||Entertainment originating in 18th-century [[London]] as a reaction against Italian opera. Early examples used existing popular ballad tunes set to satirical texts. Also popular in [[Dublin]] and America, Influenced the German [[Singspiel]], and subsequently 20th-century opera. ||{{Hs|1728}}''[[The Beggar's Opera]]'' (1728) || ''[[Love in a Village]]'' (1762), ''[[Hugh the Drover]]'' (1924), ''[[The Threepenny Opera]]'' (1928) || || [[Johann Christoph Pepusch|Pepusch]], [[Charles Coffey|Coffey]], [[Thomas Arne|Arne]], [[Kurt Weill|Weill]] || <ref name=OD />
|-
|-
| {{Section|Ballet héroïque}}{{lang|fr|Ballet héroïque}} || ''Literally'' 'heroic ballet'. A type of [[opéra ballet]] featuring the heroic and exotic, of the early/mid 18th century.||{{Hs|1723}}''Les festes grecques et romaines'' ([[François Colin de Blamont|Colin de Blamont]], 1723)|| ''[[Zaïde, reine de Grenade]]'' (1739), ''[[Les fêtes de Paphos]]'' (1758) || || [[Joseph-Nicolas-Pancrace Royer|Royer]], [[Jean-Joseph de Mondonville|Mondonville]], [[Charles-Louis Mion|Mion]] ||<ref name=OD />
| {{Section|Ballet héroïque}}Ballet héroïque || French || ''Literally'' 'heroic ballet'. A type of [[opéra ballet]] featuring the heroic and exotic, of the early/mid 18th century.||{{Hs|1723}}''Les festes grecques et romaines'' ([[François Colin de Blamont|Colin de Blamont]], 1723)|| ''[[Zaïde, reine de Grenade]]'' (1739), ''[[Les fêtes de Paphos]]'' (1758) || || [[Joseph-Nicolas-Pancrace Royer|Royer]], [[Jean-Joseph de Mondonville|Mondonville]], [[Charles-Louis Mion|Mion]] || <ref name=OD />
|-
|-
| {{Section|Bühnenfestspiel}}{{lang|de|Bühnenfestspiel}} || ''Literally'', 'stage festival play'. [[Richard Wagner|Wagner]]'s description of the four operas of ''[[Der Ring des Nibelungen]]'' || || || || [[Richard Wagner|Wagner]] ||<ref name=OD />
| {{Section|Bühnenfestspiel}}Bühnenfestspiel || [[German language|German]] || ''Literally'', 'stage festival play'. [[Richard Wagner|Wagner]]'s description of the four operas of ''[[Der Ring des Nibelungen]]'' || || || || [[Richard Wagner|Wagner]] || <ref name=OD />
| {{Section|Burla}}Burla || Italian || ''alternative name for'' [[burletta]] || || || || || <ref name=OD />
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| {{lang|it|[[Burletta]]}} || ''Literally'', 'little joke'. Informal term for comic pieces in the 18th century. Used in England for [[Intermezzo#Opera_intermezzo|intermezzos]] and light, satirical works.|| || ''[[The Recruiting Serjeant]]'' (1770) || || [[Charles Dibdin|Dibdin]] ||<ref name=OD />
| [[Burletta]] || Italian || ''Literally'', 'little joke'. Informal term for comic pieces in the 18th century. Used in England for [[Intermezzo#Opera_intermezzo|intermezzos]] and light, satirical works.|| || ''[[The Recruiting Serjeant]]'' (1770) || || [[Charles Dibdin|Dibdin]] || <ref name=OD />
|-
|-
| {{Section|Burletta per musica}}{{lang|it|Burletta per musica}} || ''alternative name for'' [[burletta]] || || ''Il vero originale'' ([[Simon Mayr|Mayr]] 1808)|| || ||
| {{Section|Burletta per musica}}Burletta per musica || Italian || ''alternative name for'' [[burletta]] || || ''Il vero originale'' ([[Simon Mayr|Mayr]] 1808)|| || ||
| {{Section|Burlettina}}Burlettina || Italian || ''alternative name for'' [[burletta]] || |||| || || <ref name=OD />
|-
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| {{Section|Characterposse}}{{lang|de|Characterposse}} || Specialized form of [[Posse mit Gesang]] concentrating on personalities. || || || || ||<ref name=OD />
| {{Section|Characterposse}}Characterposse || German || Specialized form of [[Posse mit Gesang]] concentrating on personalities. || || || || || <ref name=OD />
|-
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| {{lang|fr|[[Comédie en vaudeville]]}} || Entertainment in [[Théâtre de la foire|Paris fair theatres]] at the end of the 17th century, mixing popular [[vaudeville (song)|vaudeville]] songs with comedy. In the 18th century, developed into the [[opéra comique]], while influencing directly the English [[ballad opera]] and indirectly the German [[Singspiel]].|| || || || ||
| [[Comédie en vaudeville]] || French || Entertainment in [[Théâtre de la foire|Paris fair theatres]] at the end of the 17th century, mixing popular [[vaudeville (song)|vaudeville]] songs with comedy. In the 18th century, developed into the [[opéra comique]], while influencing directly the English [[ballad opera]] and indirectly the German [[Singspiel]].|| || || || ||
|-
|-
| {{Section|Comédie lyrique}}{{lang|fr|Comédie lyrique}} || ''Literally'', 'lyric comedy'. 18th century: description used by [[Jean-Philippe Rameau|Rameau]]. 19th century: alternative name for opéra lyrique. || || ''[[Platée]]'' (1745), ''[[Les Paladins]]'' (1760) || || [[Jean-Philippe Rameau|Rameau]] ||<ref>Sadler, Graham: "Rameau, Jean-Philippe" in ''The New Grove Dictionary of Opera'', ed. Stanley Sadie (London, 1992)</ref>
| {{Section|Comédie lyrique}}Comédie lyrique || French || ''Literally'', 'lyric comedy'. 18th century: description used by [[Jean-Philippe Rameau|Rameau]]. 19th century: alternative name for opéra lyrique. || || ''[[Platée]]'' (1745), ''[[Les Paladins]]'' (1760) || || [[Jean-Philippe Rameau|Rameau]] || <ref>Sadler, Graham: ''Rameau, Jean-Philippe'' in '[[The New Grove Dictionary of Opera]]', ed. Stanley Sadie (London, 1992) ISBN 0-333-73432-7 </ref>
|-
|-
| {{lang|fr|[[Comédie mêlée d'ariettes]]}} || ''Literally'', 'comedy mixed with brief arias'. An early form of [[France|French]] [[opéra comique]] dating to the mid 18th century.|| || ''[[La rencontre imprévue]]'' (1764), ''[[Tom Jones (Philidor)|Tom Jones]]'' (1765), ''[[Le déserteur]]'' (1769), ''[[Zémire et Azor]]'' (1771) || || [[Christoph Willibald Gluck|Gluck]], [[André Grétry|Grétry]] ||
| [[Comédie mêlée d'ariettes]] ||French || ''Literally'', 'comedy mixed with brief arias'. An early form of [[France|French]] [[opéra comique]] dating to the mid 18th century.|| || ''[[La rencontre imprévue]]'' (1764), ''[[Tom Jones (Philidor)|Tom Jones]]'' (1765), ''[[Le déserteur]]'' (1769), ''[[Zémire et Azor]]'' (1771) || || [[Christoph Willibald Gluck|Gluck]], [[André Grétry|Grétry]] ||
|-
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| {{Section|Commedia}}{{lang|it|Commedia}} || ''abbreviation of'' commedia in musica || || ''[[Il barbiere di Siviglia]]'' (1816) || || ||
| {{Section|Commedia}}Commedia || Italian ||''abbreviation of'' commedia in musica || || ''[[Il barbiere di Siviglia]]'' (1816) || || ||
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| {{Section|Commedia in musica}}{{lang|it|Commedia in musica}} || ''alternative name for'' [[opera buffa]] || || || || ||<ref name=PW>Weiss, Piero and Budden, Julian (1992): "Opera buffa" in ''The New Grove Dictionary of Opera'', ed. Stanley Sadie (London)</ref>
| {{Section|Commedia in musica}}Commedia in musica || Italian ||''alternative name for'' [[opera buffa]] || || || || || <ref name=PW>Weiss, Piero and Budden, Julian (1992): ''Opera buffa'' in 'The [[New Grove Dictionary of Opera]]', ed. Stanley Sadie (London) ISBN 0-333-73432-7 </ref>
|-
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| {{Section|Commedia per musica}}{{lang|it|Commedia per musica}} || ''alternative name for'' [[opera buffa]] || || ''[[La pastorella nobile]]'' (1788)|| || ||<ref name=PW />
| {{Section|Commedia per musica}}Commedia per musica || Italian || ''alternative name for'' [[opera buffa]] || || ''[[La pastorella nobile]]'' (1788)|| || || <ref name=PW />
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| {{Section|Componimento da camera}}{{lang|it|Componimento da camera}} || ''alternative name for'' azione teatrale || || || || ||<ref name=OD />
| {{Section|Componimento da camera}}Componimento da camera || Italian || ''alternative name for'' azione teatrale || || || || || <ref name=OD />
| {{Section|Dramatic opera}}{{Section|Dramatick opera}}Dramatic (or dramatick) opera || English || ''alternative name for'' [[semi-opera]] || || || || ||
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| {{Section|Drame forain}}{{lang|fr|Drame forain}} || ''alternative name for'' [[Comédie en vaudeville]] || || || || ||<ref name=OD />
| {{Section|Drame forain}}Drame forain || French || ''alternative name for'' [[Comédie en vaudeville]] || || || || || <ref name=OD />
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| {{Section|Drame lyrique}}{{lang|fr|Drame lyrique}} || ''Literally'', 'lyric drama'. (1) Term used in the 18th century. (2) Reinvented in the late 19th/early 20th century to describe opera that developed out of [[opéra comique]], influenced by [[Jules Massenet|Massenet]]. || || ''[[Echo et Narcisse]]'' (1779), ''[[Werther]] (1892), ''[[Briséïs]]'' (1897), ''[[Messidor (opera)|Messidor]]'' (1897) || || [[Christoph Willibald Gluck|Gluck]], [[Emmanuel Chabrier|Chabrier]], [[Alfred Bruneau|Bruneau]], [[Camille Erlanger|Erlanger]] ||<ref name=OD />
| {{Section|Drame lyrique}}Drame lyrique || French || ''Literally'', 'lyric drama'. (1) Term used in the 18th century. (2) Reinvented in the late 19th/early 20th century to describe opera that developed out of [[opéra comique]], influenced by [[Jules Massenet|Massenet]]. || || ''[[Echo et Narcisse]]'' (1779), ''[[Werther]] (1892), ''[[Briséïs]]'' (1897), ''[[Messidor (opera)|Messidor]]'' (1897) || || [[Christoph Willibald Gluck|Gluck]], [[Emmanuel Chabrier|Chabrier]], [[Alfred Bruneau|Bruneau]], [[Camille Erlanger|Erlanger]] || <ref name=OD />
| {{Section|Dramma bernesco}}Dramma bernesco || Italian || ''alternative name for'' [[opera buffa]] || || || || || <ref name=PW />
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| {{Section|Dramma comico}}{{lang|it|Dramma comico}} || ''alternative name for'' [[opera buffa]], 18th/early 19th century. Also used for the genre that replaced it from mid 19th century, with the elimination of [[recitative]]s. || || || || ||<ref name=PW />
| {{Section|Dramma comico}}Dramma comico || Italian || ''alternative name for'' [[opera buffa]], 18th/early 19th century. Also used for the genre that replaced it from mid 19th century, with the elimination of [[recitative]]s. || || || || || <ref name=PW />
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| {{Section|Dramma comico per musica}}{{lang|it|Dramma comico per musica}} || ''alternative name for'' dramma comico || || || || ||
| {{Section|Dramma comico per musica}}Dramma comico per musica || Italian || ''alternative name for'' dramma comico || || || || ||
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| {{Section|Dramma di sentimento}}{{lang|it|Dramma di sentimento}} || ''alternative name for'' [[opera semiseria]] || || || || ||<ref name=OD />
| {{Section|Dramma di sentimento}}Dramma di sentimento || Italian || ''alternative name for'' [[opera semiseria]] || || || || || <ref name=OD />
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| {{Section|Dramma eroicomico}}{{lang|it|Dramma eroicomico}} || ''Literally'' 'heroic-comic drama'. A late 18th century [[opera buffa]] with some heroic content. || || ''[[Orlando paladino]]'' (1782), ''[[Palmira, regina di Persia]]'' (1795)|| || [[Joseph Haydn|Haydn]], [[Antonio Salieri|Salieri]] ||<ref name=OD />
| {{Section|Dramma eroicomico}}Dramma eroicomico || Italian || ''Literally'' 'heroic-comic drama'. A late 18th century [[opera buffa]] with some heroic content. || || ''[[Orlando paladino]]'' (1782), ''[[Palmira, regina di Persia]]'' (1795)|| || [[Joseph Haydn|Haydn]], [[Antonio Salieri|Salieri]] || <ref name=OD />
|-
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| {{lang|it|[[Dramma giocoso]]}} (plural {{lang|it|''drammi giocosi''}}) ||''Literally'', 'jocular drama'. Mid 18th century form that developed out of the [[opera buffa]], marked by the addition of serious, even tragic roles and situations to the comic ones. (Effectively a sub-genre of [[opera buffa]] in the 18th century.)<ref>[[Wolfgang Amadeus Mozart|Mozart]]'s [[Don Giovanni]], a typical [[dramma giocoso]], was called an [[opera buffa]].</ref> || || ''[[La scuola de' gelosi]]'' (1778), ''[[La vera costanza]]'' (1779), ''[[Il viaggio a Reims]]'' (1825), || || [[Joseph Haydn|Haydn]], [[Wolfgang Amadeus Mozart|Mozart]], [[Antonio Salieri|Salieri]], [[Giuseppe Sarti|Sarti]], [[Gioachino Rossini|Rossini]], [[Gaetano Donizetti|Donizetti]] ||<ref name=OD />
| [[Dramma giocoso]] (plural ''drammi giocosi'')|| Italian ||''Literally'', 'jocular drama'. Mid 18th century form that developed out of the [[opera buffa]], marked by the addition of serious, even tragic roles and situations to the comic ones. (Effectively a sub-genre of [[opera buffa]] in the 18th century.) <ref>[[Wolfgang Amadeus Mozart|Mozart]]'s [[Don Giovanni]], a typical [[dramma giocoso]], was called an [[opera buffa]].</ref> || || ''[[La scuola de' gelosi]]'' (1778), ''[[La vera costanza]]'' (1779), ''[[Il viaggio a Reims]]'' (1825), || || [[Joseph Haydn|Haydn]], [[Wolfgang Amadeus Mozart|Mozart]], [[Antonio Salieri|Salieri]], [[Giuseppe Sarti|Sarti]], [[Gioachino Rossini|Rossini]], [[Gaetano Donizetti|Donizetti]] || <ref name=OD />
|-
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| {{Section|Dramma giocoso per musica}}{{lang|it|Dramma giocoso per musica}} || ''full term for'' [[dramma giocoso]] || || || || ||
| {{Section|Dramma giocoso per musica}}Dramma giocoso per musica || Italian || ''full term for'' [[dramma giocoso]] || || || || ||
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| {{Section|Dramma pastorale}}{{lang|it|Dramma pastorale}} || ''Literally'', 'pastoral drama'. Used for some of the earliest operas down to the 18th century. || || ''Eumelio'' ([[Agostino Agazzari|Agazzari]], 1606), ''La fede riconosciuta'' ([[Alessandro Scarlatti|A Scarlatti]], 1710) || || [[Alessandro Scarlatti|A Scarlatti]], [[Giuseppe Sarti|Sarti]] ||<ref name=OD />
| {{Section|Dramma pastorale}}Dramma pastorale || Italian ||''Literally'', 'pastoral drama'. Used for some of the earliest operas down to the 18th century. || || ''Eumelio'' ([[Agostino Agazzari|Agazzari]], 1606), ''La fede riconosciuta'' ([[Alessandro Scarlatti|A Scarlatti]], 1710) || || [[Alessandro Scarlatti|A Scarlatti]], [[Giuseppe Sarti|Sarti]] || <ref name=OD />
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| {{lang|it|[[Dramma per musica]]}} (plural {{lang|it|''drammi per musica''}}) || ''Literally'', 'drama for music', or 'a play intended to be set to music' (i.e. a [[libretto]]). Later, synonymous with [[opera seria]]; in the 19th century, sometimes used for serious opera. || ||''[[Erismena]]'' (1656), ''[[Tito Manlio]]'' (1719), ''[[Paride ed Elena]]'' (1770), ''[[Idomeneo]]'' (1781), [[Rossini]]'s ''[[Otello (Rossini)|Otello]]'' (1816) || ||[[Alessandro Scarlatti|A Scarlatti]], [[Francesco Cavalli|Cavalli]], [[Antonio Vivaldi|Vivaldi]], [[Giuseppe Sarti|Sarti]], [[Christoph Willibald Gluck|Gluck]], [[Wolfgang Amadeus Mozart|Mozart]] ||<ref name=OD />
|[[Dramma per musica]] (plural ''drammi per musica'') || Italian || ''Literally'', 'drama for music', or 'a play intended to be set to music' (i.e. a [[libretto]]). Later, synonymous with [[opera seria]]; in the 19th century, sometimes used for serious opera. || ||''[[Erismena]]'' (1656), ''[[Tito Manlio]]'' (1719), ''[[Paride ed Elena]]'' (1770), ''[[Idomeneo]]'' (1781), [[Rossini]]'s ''[[Otello (Rossini)|Otello]]'' (1816) || ||[[Alessandro Scarlatti|A Scarlatti]], [[Francesco Cavalli|Cavalli]], [[Antonio Vivaldi|Vivaldi]], [[Giuseppe Sarti|Sarti]], [[Christoph Willibald Gluck|Gluck]], [[Wolfgang Amadeus Mozart|Mozart]] || <ref name=OD />
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| {{Section|Dramma semiserio}}{{lang|it|Dramma semiserio}} || ''alternative name for'' [[opera semiseria]] || || ''[[Torvaldo e Dorliska]]'' (1815)|| || ||
| {{Section|Dramma semiserio}}Dramma semiserio || Italian || ''alternative name for'' [[opera semiseria]] || || ''[[Torvaldo e Dorliska]]'' (1815)|| || ||
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| {{Section|Dramma tragicomico}}{{lang|it|Dramma tragicomico}} || ''alternative name for'' [[opera semiseria]]. || || ''[[Axur, re d'Ormus]]'' (1787)|| || ||<ref name=OD />
| {{Section|Dramma tragicomico}}Dramma tragicomico || Italian || ''alternative name for'' [[opera semiseria]]. || || ''[[Axur, re d'Ormus]]'' (1787)|| || || <ref name=OD />
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| {{lang|fr|[[Entr'acte]]}} || French name for [[Intermezzo#Opera_intermezzo|intermezzo]] || || || || ||<ref name=OD />
| [[Entr'acte]] || French || French name for [[Intermezzo#Opera_intermezzo|intermezzo]] || || || || || <ref name=OD />
| {{Section|Episode lyrique}}Episode lyrique || French ||''alternative name for'' opéra lyrique || || || || || <ref name=OD />
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| {{Section|Fait historique}}{{lang|fr|Fait historique}} || Late 18th/19th century. Opéra or opéra comique based on French history, especially popular during the [[French revolution|revolution]]. ||{{Hs|1786}}''L'incendie du Havre'' (1786)|| ''Joseph Barra'' ([[André Grétry|Grétry]] 1794), ''Le pont de Lody'' ([[Étienne Méhul|Méhul]] 1797), ''[[Milton (opera)|Milton]]'' (1804)|| || [[André Grétry|Grétry]], [[Étienne Méhul|Méhul]], [[Gaspare Spontini|Spontini]] ||<ref name=OD /><ref>Bartlet, M Elizabeth C: "Fait historique" in ''The New Grove Dictionary of Opera'', ed. Stanley Sadie (London, 1992)</ref>
| {{Section|Fait historique}}Fait historique || French ||Late 18th/19th century. Opéra or opéra comique based on French history, especially popular during the [[French revolution|revolution]]. || ''L'incendie du Havre'' (1786)|| ''Joseph Barra'' ([[André Grétry|Grétry]] 1794), ''Le pont de Lody'' ([[Étienne Méhul|Méhul]] 1797), ''[[Milton (opera)|Milton]]'' (1804)|| || [[André Grétry|Grétry]], [[Étienne Méhul|Méhul]], [[Gaspare Spontini|Spontini]] || <ref name=OD /> <ref>Bartlet, M Elizabeth C: ''Fait historique'' in 'The [[New Grove Dictionary of Opera]]', ed. Stanley Sadie (London, 1992) ISBN 0-333-73432-7</ref>
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| {{lang|it|[[Farsa]]}} (plural {{lang|it|''farse''}}) || ''Literally'', 'farce'. A form of one-act opera, sometimes with dancing, associated with [[Venice]], especially the [[Teatro San Moisè]], in the late 18th and early 19th centuries. || || ''[[La cambiale di matrimonio]]'' (1810), ''[[L'inganno felice]]'' (1812), ''[[La scala di seta]]'' (1812), ''[[Il signor Bruschino]]'' (1813), ''[[Adina (opera)|Adina]]'' (1818) || || [[Gioachino Rossini|Rossini]]||<ref name=DB>Bryant, David (1992): "Farsa" in ''The New Grove Dictionary of Opera'', ed. Stanley Sadie (London)</ref>
| [[Farsa]] (plural ''farse'')|| Italian || ''Literally'', 'farce'. A form of one-act opera, sometimes with dancing, associated with [[Venice]], especially the [[Teatro San Moisè]], in the late 18th and early 19th centuries. || || ''[[La cambiale di matrimonio]]'' (1810), ''[[L'inganno felice]]'' (1812), ''[[La scala di seta]]'' (1812), ''[[Il signor Bruschino]]'' (1813), ''[[Adina (opera)|Adina]]'' (1818) || || [[Gioachino Rossini|Rossini]]|| <ref name=DB>Bryant, David (1992): ''Farsa'' in 'The [[New Grove Dictionary of Opera]]', ed. Stanley Sadie (London) ISBN 0-333-73432-7</ref>
| {{Section|Farsetta}}Farsetta || Italian || ''alternative name for'' farsa || || || || || <ref name=DB/>
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| {{Section|Feenmärchen}}{{lang|de|Feenmärchen}} || ''alternative name for'' Märchenoper|| || || || ||<ref name=BM>Millington, Barry: "Märchenoper" in ''The New Grove Dictionary of Opera'', ed. Stanley Sadie (London, 1992)</ref>
| {{Section|Feenmärchen}}Feenmärchen || German || ''alternative name for'' Märchenoper|| || || || || <ref name=BM>Millington, Barry: ''Märchenoper'' in 'The [[New Grove Dictionary of Opera]]', ed. Stanley Sadie (London, 1992) ISBN 0-333-73432-7</ref>
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| {{lang|it|[[Festa teatrale]]}} || A grander version of the [[azione teatrale]]. An opera given as part of a court celebration (of a marriage etc.) Typically associated with Vienna.||{{Hs|1668}}''Il pomo d'oro'' ([[Antonio Cesti|Cesti]], 1668) || || || [[Antonio Draghi|Draghi]], [[Johann Fux|Fux]], [[Antonio Caldara|Caldara]]||<ref name=OD />
| [[Festa teatrale]] || Italian ||A grander version of the [[azione teatrale]]. An opera given as part of a court celebration (of a marriage etc.) Typically associated with Vienna.||{{Hs|1668}}''Il pomo d'oro'' ([[Antonio Cesti|Cesti]], 1668) || || || [[Antonio Draghi|Draghi]], [[Johann Fux|Fux]], [[Antonio Caldara|Caldara]]|| <ref name=OD />
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| {{Section|Geistliche Oper}}{{lang|de|Geistliche Oper}} || ''Literally'', 'sacred opera'. Genre invented by the [[Russia|Russian]] composer [[Anton Rubinstein]] for his German-language, staged opera-oratorios.||{{Hs|1856}}''Das verlorene Paradies'' (Rubinstein, 1856) || ''Der Thurm zu Babel'' (1870), ''Sulamith'' (1883), ''Moses'' (1894) ||{{Hs|1895}}''Christus'' (Rubinstein, 1895) || [[Anton Rubinstein|Rubinstein]] ||<ref>Taruskin, Richard: "Sacred opera" in ''The New Grove Dictionary of Opera'', ed. Stanley Sadie (London, 1992)</ref>
| {{Section|Geistliche Oper}}Geistliche Oper || German ||''Literally'', 'sacred opera'. Genre invented by the [[Russia|Russian]] composer [[Anton Rubinstein]] for his German-language, staged opera-oratorios.|| ''Das verlorene Paradies'' (Rubinstein, 1856) || ''Der Thurm zu Babel'' (1870), ''Sulamith'' (1883), ''Moses'' (1894) || ''Christus'' (Rubinstein, 1895) || [[Anton Rubinstein|Rubinstein]] || <ref>Taruskin, Richard: ''Sacred opera'' in 'The [[New Grove Dictionary of Opera]]', ed. Stanley Sadie (London, 1992) ISBN 0-333-73432-7</ref>
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| {{lang|es|[[Género chico]]}} || ''Literally'', 'little genre'. A type of [[zarzuela]], differing from zarzuela grande by its brevity and popular appeal. || || || || [[Ruperto Chapí]] ||
| [[Género chico]] || [[Spanish language|Spanish]] ||''Literally'', 'little genre'. A type of [[zarzuela]], differing from zarzuela grande by its brevity and popular appeal. || || || || [[Ruperto Chapí]] ||
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| {{Section|Género grande}}{{lang|es|Género grande}} || ''alternative name for'' [[zarzuela]] grande || || || || ||
| {{Section|Género grande}}Género grande || Spanish ||''alternative name for'' [[zarzuela]] grande || || || || ||
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| {{lang|fr|[[Grand Opera|Grand opéra]]}} || 19th-century genre, usually with 4 or 5 acts, large-scale casts and orchestras, and spectacular staging, often based on historical themes. Particularly associated with the [[Théâtre de l'Académie Royale de Musique|Paris Opéra]] (1820s to c. 1850), but similar works were created in other countries.||{{Hs|1828}}''[[La muette de Portici]]'' (1828) || ''[[Robert le diable (opera)|Robert le diable]]'' (1831), ''[[La Juive]]'' (1835), ''[[Les Huguenots]]'' (1836) ||{{Hs|1886}}''Patrie!'' ([[Émile Paladilhe|Paladilhe]], 1886)|| [[Giacomo Meyerbeer|Meyerbeer]], [[Fromental Halévy|Halévy]], [[Giuseppe Verdi|Verdi]] ||
| [[Grand Opera|Grand opéra]] || French ||19th-century genre, usually with 4 or 5 acts, large-scale casts and orchestras, and spectacular staging, often based on historical themes. Particularly associated with the [[Théâtre de l'Académie Royale de Musique|Paris Opéra]] (1820s to c. 1850), but similar works were created in other countries.||{{Hs|1828}}''[[La muette de Portici]]'' (1828) || ''[[Robert le diable (opera)|Robert le diable]]'' (1831), ''[[La Juive]]'' (1835), ''[[Les Huguenots]]'' (1836) ||{{Hs|1886}}''Patrie!'' ([[Émile Paladilhe|Paladilhe]], 1886)|| [[Giacomo Meyerbeer|Meyerbeer]], [[Fromental Halévy|Halévy]], [[Giuseppe Verdi|Verdi]] ||
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| {{Section|Handlung}}{{lang|de|Handlung}} || ''Literally'' 'action' or 'drama'. Wagner's description for ''[[Tristan und Isolde]]. || || || || [[Richard Wagner|Wagner]] ||
| {{Section|Handlung}}Handlung || German || ''Literally'' 'action' or 'drama'. Wagner's description for ''[[Tristan und Isolde]]. || || || || [[Richard Wagner|Wagner]] ||
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| {{lang|it|[[Intermezzo#Opera_intermezzo|Intermezzo]]}} || Comic relief inserted between acts of ''[[opera seria|opere serie]]'' in the early 18th century, typically involving [[slapstick]], disguises etc. Spread throughout Europe In the 1730s. Predated [[Opera buffa]]. ||{{Hs|1706}}''Frappolone e Florinetta'' ([[Francesco Gasparini|Gasparini]]?, 1706)|| ''[[La serva padrona]]'' (1733)|| || [[Giovanni Battista Pergolesi|Pergolesi]], [[Johann Adolph Hasse|Hasse]] ||<ref>Troy, Charles E and Weiss, Piero (1992), "Intermezzo" in ''The New Grove Dictionary of Opera'', ed. Stanley Sadie (London)</ref>
| [[Intermezzo#Opera_intermezzo|Intermezzo]] || Italian || Comic relief inserted between acts of ''[[opera seria|opere serie]]'' in the early 18th century, typically involving [[slapstick]], disguises etc. Spread throughout Europe In the 1730s. Predated [[Opera buffa]]. ||{{Hs|1706}}''Frappolone e Florinetta'' ([[Francesco Gasparini|Gasparini]]?, 1706)|| ''[[La serva padrona]]'' (1733)|| || [[Giovanni Battista Pergolesi|Pergolesi]], [[Johann Adolph Hasse|Hasse]] || <ref>Troy, Charles E and Weiss, Piero (1992), 'Intermezzo' in ''The [[New Grove Dictionary of Opera]]'', ed. Stanley Sadie (London) ISBN 0-333-73432-7</ref>
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| {{Section|Liederspiel}}{{lang|de|Liederspiel}} || ''Literally'' 'song-play'. Early 19th century genre in which existing lyrics, often well-known, were set to new music and inserted into a spoken play. ||{{Hs|1800}}''Lieb' und Treue'' ([[Johann Friedrich Reichardt|Reichardt]], 1800)|| ''Kunst und Liebe'' ([[Johann Friedrich Reichardt|Reichardt]], 1807)|| || [[Johann Friedrich Reichardt|Reichardt]] [[Peter Josef von Lindpaintner|Lindpaintner]] ||<ref>Branscombe, Peter (1992), "Liederspiel" in ''The New Grove Dictionary of Opera'', ed. Stanley Sadie (London)</ref>
| {{Section|Liederspiel}}Liederspiel || German || ''Literally'' 'song-play'. Early 19th century genre in which existing lyrics, often well-known, were set to new music and inserted into a spoken play. || ''Lieb' und Treue'' ([[Johann Friedrich Reichardt|Reichardt]], 1800)|| ''Kunst und Liebe'' ([[Johann Friedrich Reichardt|Reichardt]], 1807)|| || [[Johann Friedrich Reichardt|Reichardt]] [[Peter Josef von Lindpaintner|Lindpaintner]] ||<ref>Branscombe, Peter (1992), 'Liederspiel' in ''The [[New Grove Dictionary of Opera]]'', ed. Stanley Sadie (London) ISBN 0-333-73432-7</ref>
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| {{Section|Lokalposse}}{{lang|de|Lokalposse}} || Specialized form of [[Posse mit Gesang]] concentrating on daily life themes, associated with the playwright [[Karl von Marinelli]]. || || || || ||<ref name=OD />
| {{Section|Lokalposse}}Lokalposse || German || Specialized form of [[Posse mit Gesang]] concentrating on daily life themes, associated with the playwright [[Karl von Marinelli]]. || || || || ||<ref name=OD />
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| {{Section|Märchenoper}}{{lang|de|Märchenoper}} || 'Fairy-tale opera', a genre of 19th century opera usually with a supernatural theme. Similar to Zauberoper.|| || [[Hänsel und Gretel (opera)|Hänsel und Gretel]] (1893) || || [[Engelbert Humperdinck|Humperdinck]], [[Siegfried Wagner]] ||<ref name=BM/>
| {{Section|Märchenoper}}Märchenoper || German || 'Fairy-tale opera', a genre of 19th century opera usually with a supernatural theme. Similar to Zauberoper.|| || [[Hänsel und Gretel (opera)|Hänsel und Gretel]] (1893) || || [[Engelbert Humperdinck|Humperdinck]], [[Siegfried Wagner]] || <ref name=BM/>
| {{Section|Märchenspiel}}Märchenspiel || German || ''alternative name for'' Märchenoper|| || || || || <ref name=BM/>
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| {{lang|it|[[Melodramma]]}} || 19th century. General term for opera sometimes used instead of more specific genres. || || || || ||<ref>Budden, Julian: "Melodramma" in ''The New Grove Dictionary of Opera'', ed. Stanley Sadie (London, 1992)</ref>
| [[Melodramma]] || Italian || 19th century. General term for opera sometimes used instead of more specific genres. || || || || || <ref>Budden, Julian: ''Melodramma'' in 'The [[New Grove Dictionary of Opera]]', ed. Stanley Sadie (London, 1992) ISBN 0-333-73432-7</ref>
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| {{Section|Melodramma serio}}{{lang|it|Melodramma serio}} || ''alternative name for'' opera seria|| || || || ||
| {{Section|Melodramma serio}}Melodramma serio || Italian || ''alternative name for'' opera seria|| || || || ||
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| {{Section|Musikdrama}}{{lang|de|Musikdrama}} || Term associated with the later operas of [[Richard Wagner|Wagner]] but repudiated by him.<ref name=BMMD>Millington, Barry: "Music drama" in ''The New Grove Dictionary of Opera'', ed. Stanley Sadie (London, 1992)</ref> Nevertheless widely used by post-Wagnerian composers. || || [[Tiefland (opera)|Tiefland]] (1903), [[Salome (opera)|Salome]] (1905), ''Der Golem'' ([[Eugen d'Albert|d'Albert]] 1926)|| || [[Eugen d'Albert|d'Albert]], [[Richard Strauss]] ||<ref name=OD /><ref name=BMMD />
| {{Section|Musikdrama}}Musikdrama || German || Term associated with the later operas of [[Richard Wagner|Wagner]] but repudiated by him. <ref name=BMMD>Millington, Barry: ''Music drama'' in 'The [[New Grove Dictionary of Opera]]', ed. Stanley Sadie (London, 1992) ISBN 0-333-73432-7</ref> Nevertheless widely used by post-Wagnerian composers. || || [[Tiefland (opera)|Tiefland]] (1903), [[Salome (opera)|Salome]] (1905), ''Der Golem'' ([[Eugen d'Albert|d'Albert]] 1926)|| || [[Eugen d'Albert|d'Albert]], [[Richard Strauss]] || <ref name=OD /> <ref name=BMMD />
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| {{Section|Opéra}}{{lang|fr|Opéra}} || ''Referring to individual works'': 1. 18th century. Occasionally used for operas outside specific, standard genres. 2. 19th/20th century: an opéra is a "French lyric stage work sung throughout"<ref name=MB>Bartlet, M Elizabeth C: ''Opéra'' in ''The New Grove Dictionary of Opera'', ed. Stanley Sadie (London, 1992)</ref> in contrast to an [[opéra comique]] that mixed singing with spoken dialogue. Opéra (which included [[grand opéra]]), was associated with the [[Théâtre de l'Académie Royale de Musique|Paris Opéra]] (''the'' Opéra). Also used for some works with a serious tone at the [[Opéra-Comique]]. || || ''[[Naïs]]'' (1749), ''[[Fernand Cortez]]'' (1809), [[Mosè in Egitto|Moïse et Pharaon]] (1827), ''[[Les vêpres siciliennes]]'' (1855), ''[[Roméo et Juliette]]'' (1867) || || [[André Grétry|Grétry]], [[Gaspare Spontini|Spontini]], [[Gioachino Rossini|Rossini]], [[Giuseppe Verdi|Verdi]], [[Charles Gounod|Gounod]] ||<ref name=MB />
| {{Section|Opéra}}Opéra || French ||''Referring to individual works'': 1. 18th century. Occasionally used for operas outside specific, standard genres. 2. 19th/20th century: an opéra is a "French lyric stage work sung throughout" <ref name=MB>Bartlet, M Elizabeth C: ''Opéra'' in 'The [[New Grove Dictionary of Opera]]', ed. Stanley Sadie (London, 1992) ISBN 0-333-73432-7</ref> in contrast to an [[opéra comique]] that mixed singing with spoken dialogue. Opéra (which included [[grand opéra]]), was associated with the [[Théâtre de l'Académie Royale de Musique|Paris Opéra]] (''the'' Opéra). Also used for some works with a serious tone at the [[Opéra-Comique]]. || || ''[[Naïs]]'' (1749), ''[[Fernand Cortez]]'' (1809), [[Mosè in Egitto|Moïse et Pharaon]] (1827), ''[[Les vêpres siciliennes]]'' (1855), ''[[Roméo et Juliette]]'' (1867) || || [[André Grétry|Grétry]], [[Gaspare Spontini|Spontini]], [[Gioachino Rossini|Rossini]], [[Giuseppe Verdi|Verdi]], [[Charles Gounod|Gounod]] ||<ref name=MB />
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| {{lang|fr|[[Opéra-ballet]]}} || Genre with more dancing than ''[[tragédie en musique]]''. Usually with a prologue and a number of self-contained acts (called ''entrées''), following a theme. ||{{Hs|1697}}''[[L'Europe galante]]'' (1697) || ''[[Les Indes galantes]]'' (1735), ''[[Les fêtes d'Hébé]]'' (1739) || || [[Jean-Philippe Rameau|Rameau]]||<ref name=OD />
| [[Opéra-ballet]] || French || Genre with more dancing than ''[[tragédie en musique]]''. Usually with a prologue and a number of self-contained acts (called ''entrées''), following a theme. ||{{Hs|1697}}''[[L'Europe galante]]'' (1697) || ''[[Les Indes galantes]]'' (1735), ''[[Les fêtes d'Hébé]]'' (1739) || || [[Jean-Philippe Rameau|Rameau]]|| <ref name=OD />
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| {{Section|Opera ballo}}{{lang|it|Opera ballo}} || 19th-century Italian [[Grand Opera|grand opéra]]. || || ''[[Il Guarany]]'' (1870), ''[[Aida]]'' (1871), ''[[La Gioconda (opera)]]'' (1876) || || [[Antônio Carlos Gomes|Gomes]], [[Giuseppe Verdi|Verdi]], [[Amilcare Ponchielli|Ponchielli]] ||<ref>Sadie, Stanley (ed) (1992), "Opera ballo" in ''The New Grove Dictionary of Opera'', ed. Stanley Sadie (London)</ref>
| {{Section|Opera ballo}}Opera ballo || Italian || 19th-century Italian [[Grand Opera|grand opéra]]. || || ''[[Il Guarany]]'' (1870), ''[[Aida]]'' (1871), ''[[La Gioconda (opera)]]'' (1876) || || [[Antônio Carlos Gomes|Gomes]], [[Giuseppe Verdi|Verdi]], [[Amilcare Ponchielli|Ponchielli]] || <ref>Sadie, Stanley (ed) (1992), 'Opera ballo' in ''The [[New Grove Dictionary of Opera]]'', ed. Stanley Sadie (London) ISBN 0-333-73432-7</ref>
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| {{lang|it|[[Opera buffa]]}} (plural, {{lang|it|''opere buffe''}}) || Major genre of comic opera in the 18th and early 19th centuries. Originating in [[Naples]] (especially the [[Teatro dei Fiorentini]]), its popularity spread during the 1730s, notably to [[Venice]] where development was influenced by the playwright/librettist [[Carlo Goldoni|Goldoni]]. Typically in three acts, unlike the [[Intermezzo#Opera_intermezzo|intermezzo]]. Contrasting in style, subject matter, and the use of dialect with the formal, aristocratic [[opera seria]]. ||{{Hs|1706}}''La Cilla'' (Michelangelo Faggioli, 1706) || ''[[Li zite 'ngalera]]'' (1722), ''Il filosofo di campagna'' ([[Baldassare Galuppi|Galuppi]], 1754), ''[[La buona figliuola]]'' (1760), ''[[Le nozze di Figaro]]'' (1786), ''[[Il barbiere di Siviglia]]'' (1816), ''[[Don Pasquale]]'' (1843) ||{{Hs|1850}}''[[Crispino e la comare]]'' (1850)|| [[Leonardo Vinci|Vinci]], [[Baldassare Galuppi|Galuppi]], [[Egidio Duni|Duni]], [[Niccolò Piccinni|Piccinni]], [[Antonio Sacchini|Sacchini]], [[Antonio Salieri|Salieri]], [[Wolfgang Amadeus Mozart|Mozart]], [[Gioachino Rossini|Rossini]] ||<ref name=PW />
| [[Opera buffa]] (plural, ''opere buffe'') || Italian || Major genre of comic opera in the 18th and early 19th centuries. Originating in [[Naples]] (especially the [[Teatro dei Fiorentini]]), its popularity spread during the 1730s, notably to [[Venice]] where development was influenced by the playwright/librettist [[Carlo Goldoni|Goldoni]]. Typically in three acts, unlike the [[Intermezzo#Opera_intermezzo|intermezzo]]. Contrasting in style, subject matter, and the use of dialect with the formal, aristocratic [[opera seria]]. ||{{Hs|1706}}''La Cilla'' (Michelangelo Faggioli, 1706) || ''[[Li zite 'ngalera]]'' (1722), ''Il filosofo di campagna'' ([[Baldassare Galuppi|Galuppi]], 1754), ''[[La buona figliuola]]'' (1760), ''[[Le nozze di Figaro]]'' (1786), ''[[Il barbiere di Siviglia]]'' (1816), ''[[Don Pasquale]]'' (1843) ||{{Hs|1850}}''[[Crispino e la comare]]'' (1850)|| [[Leonardo Vinci|Vinci]], [[Baldassare Galuppi|Galuppi]], [[Egidio Duni|Duni]], [[Niccolò Piccinni|Piccinni]], [[Antonio Sacchini|Sacchini]], [[Antonio Salieri|Salieri]], [[Wolfgang Amadeus Mozart|Mozart]], [[Gioachino Rossini|Rossini]] || <ref name=PW />
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| {{lang|fr|[[Opéra bouffe]]}} (plural, {{lang|fr|''opéras bouffes''}}) || Comic genre of [[operetta|opérette]] including satire, parody and farce. Closely connected with [[Jacques Offenbach|Offenbach]] and the [[Théâtre des Bouffes-Parisiens]] where most of them were produced. ||{{Hs|1858}}''[[Orphée aux enfers]]'' (1858)|| ''[[La belle Hélène]]'' (1864), ''[[La Grande-Duchesse de Gérolstein]]'' (1867), ''[[La Périchole]]'' (1868) || {{Hs|1947}}''[[Les mamelles de Tirésias]]'' (1947) || [[Jacques Offenbach|Offenbach]], [[Hervé (composer)|Hervé]], [[Charles Lecocq|Lecocq]] ||<ref>Bartlet, M Elizabeth C: "Opéra bouffe" in ''The New Grove Dictionary of Opera'', ed. Stanley Sadie (London, 1992)</ref>
| [[Opéra bouffe]] (plural, ''opéras bouffes'') ||French || Comic genre of [[operetta|opérette]] including satire, parody and farce. Closely connected with [[Jacques Offenbach|Offenbach]] and the [[Théâtre des Bouffes-Parisiens]] where most of them were produced. ||{{Hs|1858}}''[[Orphée aux enfers]]'' (1858)|| ''[[La belle Hélène]]'' (1864), ''[[La Grande-Duchesse de Gérolstein]]'' (1867), ''[[La Périchole]]'' (1868) || {{Hs|1947}}''[[Les mamelles de Tirésias]]'' (1947) || [[Jacques Offenbach|Offenbach]], [[Hervé (composer)|Hervé]], [[Charles Lecocq|Lecocq]] || <ref>Bartlet, M Elizabeth C: ''Opéra bouffe'' in 'The [[New Grove Dictionary of Opera]]', ed. Stanley Sadie (London, 1992) ISBN 0-333-73432-7</ref>
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| {{lang|fr|[[Opéra bouffon]]}} || [[Opera buffa]] as performed in 18th-century France, either in the original language or in translation. (Sometimes confused with [[opéra comique]].) || || ''Le roi Théodore à Venise'' (Paisiello, 1786)|| || ||<ref>Bartlet, M Elizabeth C: "Opéra bouffon" in ''The New Grove Dictionary of Opera'', ed. Stanley Sadie (London, 1992)</ref>
| [[Opéra bouffon]] ||French || [[Opera buffa]] as performed in 18th-century France, either in the original language or in translation. (Sometimes confused with [[opéra comique]].) || || ''Le roi Théodore à Venise'' (Paisiello, 1786)|| || || <ref>Bartlet, M Elizabeth C: ''Opéra bouffon'' in '[[The New Grove Dictionary of Opera]]', ed. Stanley Sadie (London, 1992) ISBN 0-333-73432-7 </ref>
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| {{lang|fr|[[Opéra comique]]}} (plural, {{lang|fr|''opéras comiques''}}) || ''Literally'', 'comic opera'. Genre including [[aria]]s, a certain amount of spoken dialogue (and sometimes recitatives). Closely associated with works written for the [[Paris]] [[Opéra-Comique]]. Themes included were serious and tragic, as well as light. Tradition developed from popular early 18th century [[Comédie en vaudeville|comédies en vaudevilles]] and lasted into 20th century with many changes in style. ||{{Hs|1715}}''Télémaque'' (Jean-Claude Gillier, 1715) || ''[[La dame blanche]]'' (1825), ''[[Carmen]]'' (1875), ''[[Lakmé]]'' (1883)|| || [[André Grétry|Grétry]], [[François-Adrien Boieldieu|Boieldieu]], [[Daniel Auber|Auber]], ||<ref name=OD />
| [[Opéra comique]] (plural, ''opéras comiques'') ||French || ''Literally'', 'comic opera'. Genre including [[aria]]s, a certain amount of spoken dialogue (and sometimes recitatives). Closely associated with works written for the [[Paris]] [[Opéra-Comique]]. Themes included were serious and tragic, as well as light. Tradition developed from popular early 18th century [[Comédie en vaudeville|comédies en vaudevilles]] and lasted into 20th century with many changes in style. ||{{Hs|1715}}''Télémaque'' (Jean-Claude Gillier, 1715) || ''[[La dame blanche]]'' (1825), ''[[Carmen]]'' (1875), ''[[Lakmé]]'' (1883)|| || [[André Grétry|Grétry]], [[François-Adrien Boieldieu|Boieldieu]], [[Daniel Auber|Auber]], || <ref name=OD />
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| {{Section|Opéra comique en vaudeville}}{{lang|fr|Opéra comique en vaudeville}} || ''alternative name for'' [[comédie en vaudeville]]|| || || || ||
| {{Section|Opéra comique en vaudeville}}Opéra comique en vaudeville || French || ''alternative name for'' [[comédie en vaudeville]]|| || || || ||
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| {{lang|fr|[[Opéra féerie]]}} (plural, {{lang|fr|''opéras féeries''}}) || 18th/19th century genre of works based on fairy tales, often involving magic.|| || || || [[Michele Carafa|Carafa]], [[Nicolas Isouard|Isouard]] ||<ref>Bartlet, M Elizabeth C: "Opéra féerie" in ''The New Grove Dictionary of Opera'', ed. Stanley Sadie (London, 1992)</ref>
| [[Opéra féerie]] (plural, ''opéras féeries'') ||French || 18th/19th century genre of works based on fairy tales, often involving magic.
|| || ''[[Zémire et Azor]]'' (1771), ''[[Cendrillon (Isouard)|Cendrillon]]'' (1810), ''[[La belle au bois dormant (opera)|La belle au bois dormant]]'' (1825) || || [[Michele Carafa|Carafa]], [[Nicolas Isouard|Isouard]] || <ref>Bartlet, M Elizabeth C: ''Opéra féerie'' in 'The [[New Grove Dictionary of Opera]]', ed. Stanley Sadie (London, 1992) ISBN 0-333-73432-7</ref>
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| {{Section|Opéra lyrique}}{{lang|fr|Opéra lyrique}} || ''Literally'', 'lyric opera'. Late 18th/19th century, less grandiose than grand opéra, but without the spoken dialogue of [[opéra comique]]. (Term applied more to the genre as a whole than individual operas.)|| || || || [[Charles Gounod|Gounod]], [[Ambroise Thomas]], [[Jules Massenet|Massenet]] ||<ref name=OD />
| {{Section|Opéra lyrique}}Opéra lyrique || French || ''Literally'', 'lyric opera'. Late 18th/19th century, less grandiose than grand opéra, but without the spoken dialogue of [[opéra comique]]. (Term applied more to the genre as a whole than individual operas.)|| || || || [[Charles Gounod|Gounod]], [[Ambroise Thomas]], [[Jules Massenet|Massenet]] || <ref name=OD />
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| {{lang|it|[[Opera semiseria]]}} || ''Literally'', 'semi-serious opera'. Early/mid 19th century genre employing comedy but also, unlike [[opera buffa]], pathos, often with a pastoral setting. Typically included a basso buffo role. ||{{Hs|1799}}''Camilla'' ([[Ferdinando Paër|Paër]], 1799) || ''[[La gazza ladra]]'' (1817), ''[[Linda di Chamounix]]'' (1842) ||{{Hs|1853}}''Violetta'' ([[Saverio Mercadante|Mercadante]], 1853)|| [[Gioachino Rossini|Rossini]], [[Gaetano Donizetti|Donizetti]]||<ref>Budden, Julian: "Opera semiseria" in ''The New Grove Dictionary of Opera'', ed. Stanley Sadie (London, 1992)</ref>
| [[Opera semiseria]] || Italian || ''Literally'', 'semi-serious opera'. Early/mid 19th century genre employing comedy but also, unlike [[opera buffa]], pathos, often with a pastoral setting. Typically included a basso buffo role. ||{{Hs|1799}}''Camilla'' ([[Ferdinando Paër|Paër]], 1799) || ''[[La gazza ladra]]'' (1817), ''[[Linda di Chamounix]]'' (1842) ||{{Hs|1853}}''Violetta'' ([[Saverio Mercadante|Mercadante]], 1853)|| [[Gioachino Rossini|Rossini]], [[Gaetano Donizetti|Donizetti]]|| <ref> Budden, Julian: ''Opera semiseria'' in 'The [[New Grove Dictionary of Opera]]', ed. Stanley Sadie (London, 1992) ISBN 0-333-73432-7 </ref>
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| {{lang|it|[[Opera seria]]}} (plural, {{lang|it|''opere serie''}}) || ''Literally'', 'serious opera'. Dominant style of opera in the 18th century, not only in Italy but throughout Europe (except [[France]]). Rigorously formal works using texts, mainly based on ancient history, by poet-librettists led by [[Metastasio]]. Patronized by the court and the nobility. Star singers were often [[castrato|castrati]]. || || ''[[Griselda (A. Scarlatti)|Griselda]]'' (1721), ''Cleofide'' (Hasse, 1731), ''[[Ariodante]]'' (1735), ''[[Alceste (Gluck)|Alceste]]'' (1767), ''[[La clemenza di Tito]]'' (1791) || || [[Alessandro Scarlatti]], [[Antonio Vivaldi|Vivaldi]], [[Johann Adolph Hasse|Hasse]], [[George Frideric Handel|Handel]], [[Christoph Willibald Gluck|Gluck]], [[Wolfgang Amadeus Mozart|Mozart]]||<ref name=OD /><ref>McClymonds, Marita P and Heartz, Daniel: "Opera seria" in ''The New Grove Dictionary of Opera'', ed. Stanley Sadie (London, 1992)</ref>
| [[Opera seria]] (plural, ''opere serie'')|| Italian || ''Literally'', 'serious opera'. Dominant style of opera in the 18th century, not only in Italy but throughout Europe (except [[France]]). Rigorously formal works using texts, mainly based on ancient history, by poet-librettists led by [[Metastasio]]. Patronized by the court and the nobility. Star singers were often [[castrato|castrati]]. || || ''[[Griselda (A. Scarlatti)|Griselda]]'' (1721), ''Cleofide'' (Hasse, 1731), ''[[Ariodante]]'' (1735), ''[[Alceste (Gluck)|Alceste]]'' (1767), ''[[La clemenza di Tito]]'' (1791) || || [[Alessandro Scarlatti]], [[Antonio Vivaldi|Vivaldi]], [[Johann Adolph Hasse|Hasse]], [[George Frideric Handel|Handel]], [[Christoph Willibald Gluck|Gluck]], [[Wolfgang Amadeus Mozart|Mozart]]|| <ref name=OD /> <ref> McClymonds, Marita P and Heartz, Daniel: ''Opera seria'' in 'The [[New Grove Dictionary of Opera]]', ed. Stanley Sadie (London, 1992) ISBN 0-333-73432-7 </ref>
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| {{Section|Opéra-tragédie}}{{lang|fr|Opéra-tragédie}} || ''alternative name for'' [[tragédie en musique]]|| || || || ||<ref name=GS>Sadler, Graham (1992), "Tragédie en musique" in ''The New Grove Dictionary of Opera'', ed. [[Stanley Sadie]] (London)</ref>
| {{Section|Opéra-tragédie}}Opéra-tragédie || French || ''alternative name for'' [[tragédie en musique]]|| || || || || <ref name=GS>Sadler, Graham (1992), 'Tragédie en musique' in ''The [[New Grove Dictionary of Opera]]'', ed. [[Stanley Sadie]] (London) ISBN 0-333-73432-7</ref>
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| {{lang|it|[[Operetta]]}} || ''Literally'', 'little opera'. The earliest [[Jacques Offenbach|Offenbach]]ian operettas in English were written by [[Arthur Sullivan|Sullivan]] (later with [[W. S. Gilbert|Gilbert]]), who nevertheless called them 'comic operas' or [[Savoy opera]]s. Later works influenced the rise of [[musical theatre]].||{{Hs|1866}}''[[Cox and Box]]'' (1866) || ''[[The Mikado]]'' (1888), ''[[Merrie England (opera)|Merrie England]]'' (1902), ''[[Naughty Marietta (operetta)|Naughty Marietta]]'' (1910), ''[[Monsieur Beaucaire (operetta)|Monsieur Beaucaire]]'' (1919), ''[[The Vagabond King]]'' (1925)|| || [[Arthur Sullivan|Sullivan]], [[Edward German|German]], [[Victor Herbert|Herbert]], [[Rudolf Friml|Friml]] ||<ref name=AL>Lamb, Andrew (1992), "Operetta" in ''The New Grove Dictionary of Opera'', ed. Stanley Sadie (London)</ref>
| [[Operetta]] || English (from Italian) || ''Literally'', 'little opera'. The earliest [[Jacques Offenbach|Offenbach]]ian operettas in English were written by [[Arthur Sullivan|Sullivan]] (later with [[W. S. Gilbert|Gilbert]]), who nevertheless called them 'comic operas' or [[Savoy opera]]s. Later works influenced the rise of [[musical theatre]].||{{Hs|1866}}''[[Cox and Box]]'' (1866) || ''[[The Mikado]]'' (1888), ''[[Merrie England (opera)|Merrie England]]'' (1902), ''[[Naughty Marietta (operetta)|Naughty Marietta]]'' (1910), ''[[Monsieur Beaucaire (operetta)|Monsieur Beaucaire]]'' (1919), ''[[The Vagabond King]]'' (1925)|| || [[Arthur Sullivan|Sullivan]], [[Edward German|German]], [[Victor Herbert|Herbert]], [[Rudolf Friml|Friml]] || <ref name=AL>Lamb, Andrew (1992), 'Operetta' in ''The [[New Grove Dictionary of Opera]]'', ed. Stanley Sadie (London) ISBN 0-333-73432-7</ref>
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| {{Section|Opérette}}{{lang|fr|Opérette}} (plural, {{lang|fr|''opérettes''}}) || ''French'' [[operetta]]. Original genre of light (both of music and subject matter) opera that grew out of the French ''[[opéra comique]]'' in the mid 19th century. Associated with the style of the [[Second French Empire|Second Empire]] by the works of [[Jacques Offenbach|Offenbach]], though his best known examples are designated subgenerically as [[Opéra bouffe|opéras bouffes]]. ||{{Hs|1842}}''L'ours et le pacha'' ([[Hervé (composer)|Hervé]], 1842)|| ''Madame Papillon'' (Offenbach, 1855), ''[[Les mousquetaires au couvent]]'' (1880), ''[[Les p'tites Michu]]'' (1897), ''[[Ciboulette]]'' (1923)|| || [[Hervé (composer)|Hervé]], [[Jacques Offenbach|Offenbach]], [[Louis Varney|Varney]], [[André Messager|Messager]], [[Reynaldo Hahn|Hahn]] ||<ref name=AL/>
| {{Section|Opérette}}Opérette (plural, ''opérettes'') || French || ''French'' [[operetta]]. Original genre of light (both of music and subject matter) opera that grew out of the French ''[[opéra comique]]'' in the mid 19th century. Associated with the style of the [[Second French Empire|Second Empire]] by the works of [[Jacques Offenbach|Offenbach]], though his best known examples are designated subgenerically as [[Opéra bouffe|opéras bouffes]]. ||{{Hs|1842}}''L'ours et le pacha'' ([[Hervé (composer)|Hervé]], 1842)|| ''Madame Papillon'' (Offenbach, 1855), ''[[Les mousquetaires au couvent]]'' (1880), ''[[Les p'tites Michu]]'' (1897), ''[[Ciboulette]]'' (1923)|| || [[Hervé (composer)|Hervé]], [[Jacques Offenbach|Offenbach]], [[Louis Varney|Varney]], [[André Messager|Messager]], [[Reynaldo Hahn|Hahn]] || <ref name=AL/>
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| {{Section|Opérette bouffe}}{{lang|fr|Opérette bouffe}} || Subgenre of ''French'' opérette.|| || ''[[La bonne d'enfant]]'' (1856), ''[[M. Choufleuri restera chez lui le . . .]]'' (1861)|| || [[Jacques Offenbach|Offenbach]] ||<ref name=AL/>
| {{Section|Opérette bouffe}}Opérette bouffe || French || Subgenre of ''French'' opérette.|| || ''[[La bonne d'enfant]]'' (1856), ''[[M. Choufleuri restera chez lui le . . .]]'' (1861)|| || [[Jacques Offenbach|Offenbach]] || <ref name=AL/>
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| {{Section|Opérette vaudeville}}{{Section|Vaudeville opérette}}{{lang|fr|Opérette vaudeville}} (''or'' {{lang|fr|vaudeville opérette}}) || Subgenre of ''French'' opérette.||{{Hs|1842}}''L'ours et le pacha'' (Hervé, 1842) || ''[[Mam'zelle Nitouche]]'' (1883)|| || [[Hervé (composer)|Hervé]], Victor Roger ||<ref name=AL/>
| {{Section|Opérette vaudeville}}{{Section|Vaudeville opérette}}Opérette vaudeville (''or'' vaudeville opérette) || French || Subgenre of ''French'' opérette.||{{Hs|1842}}''L'ours et le pacha'' (Hervé, 1842) || ''[[Mam'zelle Nitouche]]'' (1883)|| || [[Hervé (composer)|Hervé]], Victor Roger || <ref name=AL/>
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| {{Section|Operette}}{{lang|de|Operette}} (plural, {{lang|de|''operetten''}}) || ''German'' [[operetta]]. Popular [[Vienna|Viennese]] genre during the 19th and 20th centuries, created under the influence of Offenbach and spread to [[Berlin]], [[Budapest]], and other German and east European cities.||{{Hs|1860}}''Das Pensionat'' ([[Franz von Suppé|Suppé]], 1860)|| ''[[Die Fledermaus]]'' (1874), ''[[The Merry Widow]]'' (1905), ''[[Das Land des Lächelns]]'' (1929) ||{{Hs|1964}}''Frühjahrsparade'' ([[Robert Stolz]], 1964)|| [[Johann Strauss II]], [[Franz Lehár|Lehár]], [[Oscar Straus (composer)|Oscar Straus]] ||<ref name=AL/>
| {{Section|Operette}}Operette (plural, ''operetten'') || German || ''German'' [[operetta]]. Popular [[Vienna|Viennese]] genre during the 19th and 20th centuries, created under the influence of Offenbach and spread to [[Berlin]], [[Budapest]], and other German and east European cities.||{{Hs|1860}}''Das Pensionat'' ([[Franz von Suppé|Suppé]], 1860)|| ''[[Die Fledermaus]]'' (1874), ''[[The Merry Widow]]'' (1905), ''[[Das Land des Lächelns]]'' (1929) || ''Frühjahrsparade'' ([[Robert Stolz]], 1964)|| [[Johann Strauss II]], [[Franz Lehár|Lehár]], [[Oscar Straus (composer)|Oscar Straus]] || <ref name=AL/>
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| {{lang|it|[[Pasticcio]]}} || ''Literally'' 'a pie' or a hotchpotch. An adaptation or localization of an existing work that is loose, unauthorized, or inauthentic. Also used for a single work by a number of different composers, particularly in early 18th-century [[London]]. || || ''Thomyris'' ([[Johann Christoph Pepusch|Pepusch]], [[Giovanni Battista Bononcini|Bononcini]], [[Alessandro Scarlatti|Scarlatti]], [[Francesco Gasparini|Gasparini]], [[Tomaso Albinoni|Albinoni]], 1707) ''[[Muzio Scevola]]'' (1721), ''[[Ivanhoé]]'' (1826) || || [[George Frideric Handel|Handel]], [[Antonio Vivaldi|Vivaldi]] ||<ref name=OD />
| [[Pasticcio]] || Italian || ''Literally'' 'a pie' or a hotchpotch. An adaptation or localization of an existing work that is loose, unauthorized, or inauthentic. Also used for a single work by a number of different composers, particularly in early 18th-century [[London]]. || || ''Thomyris'' ([[Johann Christoph Pepusch|Pepusch]], [[Giovanni Battista Bononcini|Bononcini]], [[Alessandro Scarlatti|Scarlatti]], [[Francesco Gasparini|Gasparini]], [[Tomaso Albinoni|Albinoni]], 1707) ''[[Muzio Scevola]]'' (1721), ''[[Ivanhoé]]'' (1826) || || [[George Frideric Handel|Handel]], [[Antonio Vivaldi|Vivaldi]] || <ref name=OD />
| {{Section|Pièce lyrique}}Pièce lyrique || French ||''alternative name for'' opéra lyrique || || || || || <ref name=OD />
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| {{lang|fr|[[Pastorale héroïque]]}} || Genre of Baroque opera, usually in three acts with an allegorical prologue, that typically drew on classical themes associated with pastoral poetry. ||{{Hs|1686}}''[[Acis et Galatée]]'' (1686)|| ''[[Zaïs]]'' (1748), ''[[Naïs]]'' (1749)|| || [[Jean-Baptiste Lully|Lully]], [[Jean-Philippe Rameau|Rameau]] ||
| [[Pastorale héroïque]] ||French || Genre of Baroque opera, usually in three acts with an allegorical prologue, that typically drew on classical themes associated with pastoral poetry. ||{{Hs|1686}}''[[Acis et Galatée]]'' (1686)|| ''[[Zaïs]]'' (1748), ''[[Naïs]]'' (1749)|| || [[Jean-Baptiste Lully|Lully]], [[Jean-Philippe Rameau|Rameau]] ||
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| {{Section|Posse}}{{lang|de|Posse}} || ''alternative name for'' [[Posse mit Gesang]] || || || || ||<ref name=OD />
| {{Section|Posse}}Posse ||German || ''alternative name for'' [[Posse mit Gesang]] || || || || || <ref name=OD />
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| {{lang|de|[[Posse mit Gesang]]}} (plural {{lang|de|''Possen mit Gesang''}}) || ''Literally'', 'farce with singing'. Popular entertainment of late 18th/early 19th centuries, associated with [[Vienna]], [[Berlin]] and [[Hamburg]]. Similar to the [[Singspiel]], but with more action and less music. || || ''Der Alpenkönig und der Menschenfeind'' ([[Ferdinand Raimund|Raimund]], 1828) || || [[Conradin Kreutzer|Kreutzer]], [[Wenzel Müller|Müller]], [[Franz Schubert|Schubert]] ||<ref name=OD />
| [[Posse mit Gesang]] (plural ''Possen mit Gesang'') || German || ''Literally'', 'farce with singing'. Popular entertainment of late 18th/early 19th centuries, associated with [[Vienna]], [[Berlin]] and [[Hamburg]]. Similar to the [[Singspiel]], but with more action and less music. || || ''Der Alpenkönig und der Menschenfeind'' ([[Ferdinand Raimund|Raimund]], 1828) || || [[Conradin Kreutzer|Kreutzer]], [[Wenzel Müller|Müller]], [[Franz Schubert|Schubert]] || <ref name=OD />
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| {{Section|Possenspiel}}{{lang|de|Possenspiel}} || ''early name for'' [[Posse mit Gesang]] || || || || ||<ref name=OD />
| {{Section|Possenspiel}}Possenspiel || German || ''early name for'' [[Posse mit Gesang]] || || || || || <ref name=OD />
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| {{Section|Possenspil}}{{lang|de|Possenspil}} || ''early name for'' [[Posse mit Gesang]] || || || || ||<ref name=OD />
| {{Section|Possenspil}}Possenspil || German || ''early name for'' [[Posse mit Gesang]] || || || || || <ref name=OD />
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| {{Section|Rappresentazione sacra}}{{lang|it|Rappresentazione sacra}} || ''alternative name for'' azione sacra || || || || ||<ref name=HS>Smither, Howard E (1992), "Sepolcro" in ''The New Grove Dictionary of Opera'', ed. Stanley Sadie (London)</ref>
| {{Section|Rappresentazione sacra}}Rappresentazione sacra || Italian ||''alternative name for'' azione sacra || || || || || <ref name=HS>Smither, Howard E (1992), 'Sepolcro' in ''The [[New Grove Dictionary of Opera]]'', ed. Stanley Sadie (London) ISBN 0-333-73432-7</ref>
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| {{lang|de|[[Romantische Oper]]}} || Early 19th-century German genre derived from earlier French [[opéra comique|opéras comiques]], dealing with 'German' themes of nature, the supernatural, folklore etc. Spoken dialogue, originally included with musical numbers, was eventually eliminated in works by Richard Wagner. ||{{Hs|1821}}''[[Der Freischütz]]'' (1821) || ''[[Hans Heiling]]'' (1833), ''[[Undine (Lortzing)|Undine]]'' (1845), ''[[Tannhäuser (opera)|Tannhäuser]]'' (1845) ||{{Hs|1850}}''[[Lohengrin (opera)|Lohengrin]]'' (1850) || [[Carl Maria von Weber|Weber]], [[Heinrich Marschner|Marschner]], [[Albert Lortzing|Lortzing]], [[Richard Wagner|Wagner]]||<ref name=OD />
| [[Romantische Oper]] ||German || Early 19th-century German genre derived from earlier French [[opéra comique|opéras comiques]], dealing with 'German' themes of nature, the supernatural, folklore etc. Spoken dialogue, originally included with musical numbers, was eventually eliminated in works by Richard Wagner. ||{{Hs|1821}}''[[Der Freischütz]]'' (1821) || ''[[Hans Heiling]]'' (1833), ''[[Undine (Lortzing)|Undine]]'' (1845), ''[[Tannhäuser (opera)|Tannhäuser]]'' (1845) ||{{Hs|1850}}''[[Lohengrin (opera)|Lohengrin]]'' (1850) || [[Carl Maria von Weber|Weber]], [[Heinrich Marschner|Marschner]], [[Albert Lortzing|Lortzing]], [[Richard Wagner|Wagner]]|| <ref name=OD />
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| {{lang|es|[[Sainete]]}} || ''Literally'', 'farce' or 'titbit'. 17th/18th century genre of comic opera similar to the Italian [[intermezzo]], performed together with larger works. Popular in [[Madrid]] in the latter 18th century. During 19th century, the Sainete was synonymous with [[género chico]].||{{Hs|1632}}''Il mago'' (1632)|| || || Pablo Esteve, [[Antonio Soler|Soler]], Antonio Rosales||<ref name=OD /><ref name=RA>Alier, Roger (1992), "Sainete" in ''The New Grove Dictionary of Opera'', ed. Stanley Sadie (London)</ref>
| [[Sainete]] || Spanish || ''Literally'', 'farce' or 'titbit'. 17th/18th century genre of comic opera similar to the Italian [[intermezzo]], performed together with larger works. Popular in [[Madrid]] in the latter 18th century. During 19th century, the Sainete was synonymous with [[género chico]].||{{Hs|1632}}''Il mago'' (1632)|| || || Pablo Esteve, [[Antonio Soler|Soler]], Antonio Rosales|| <ref name=OD /> <ref name=RA>Alier, Roger (1992), 'Sainete' in ''The [[New Grove Dictionary of Opera]]'', ed. Stanley Sadie (London) ISBN 0-333-73432-7</ref>
| {{lang|en|[[Savoy opera]]}} || 19th-century form of [[operetta]] or comic opera identified with the work of [[W. S. Gilbert|Gilbert]] and [[Arthur Sullivan|Sullivan]] at the [[Savoy Theatre]] in [[London]]. ||{{Hs|1875}}''[[Trial by Jury]]'' (1875)|| ''[[The Pirates of Penzance]]'' (1880), ''[[The Mikado]]'' (1885)||{{Hs|1903}}''[[A Princess of Kensington]]'' (1903)|| [[Arthur Sullivan|Sullivan]]||
| [[Savoy opera]] || English ||19th-century form of [[operetta]] or comic opera identified with the work of [[W. S. Gilbert|Gilbert]] and [[Arthur Sullivan|Sullivan]] at the [[Savoy Theatre]] in [[London]]. ||{{Hs|1875}}''[[Trial by Jury]]'' (1875)|| ''[[The Pirates of Penzance]]'' (1880), ''[[The Mikado]]'' (1885)||{{Hs|1903}}''[[A Princess of Kensington]]'' (1903)|| [[Arthur Sullivan|Sullivan]]||
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| {{Section|Saynète}}{{lang|fr|Saynète}} || ''French for'' sainete. Description used for a particular style of [[operetta|opérette]] in the 19th century.|| || ''La caravane de l'amour'' ([[Hervé (composer)|Hervé]], 1854), ''Le rêve d'une nuit d'été'' ([[Jacques Offenbach|Offenbach]], 1855), ''Le valet de coeur'' ([[Robert Planquette|Planquette]], 1875) || || [[Hervé (composer)|Hervé]], [[Jacques Offenbach|Offenbach]], [[Robert Planquette|Planquette]] ||<ref name=RA />
| {{Section|Saynète}}Saynète ||French || ''French for'' sainete. Description used for a particular style of [[operetta|opérette]] in the 19th century.|| || ''La caravane de l'amour'' ([[Hervé (composer)|Hervé]], 1854), ''Le rêve d'une nuit d'été'' ([[Jacques Offenbach|Offenbach]], 1855), ''Le valet de coeur'' ([[Robert Planquette|Planquette]], 1875) || || [[Hervé (composer)|Hervé]], [[Jacques Offenbach|Offenbach]], [[Robert Planquette|Planquette]] || <ref name=RA />
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| {{Section|Schauspiel mit Gesang}}{{lang|de|Schauspiel mit Gesang}} || ''Literally'', 'play with singing'. Term used by [[Johann Wolfgang von Goethe|Goethe]] for his early libretti, though he called them [[Singspiel|Singspiele]] when revising them. ||{{Hs|1775}}''Erwin und Elmire'' ([[Johann Wolfgang von Goethe|Goethe]] 1775)|| ''Liebe nur beglückt'' ([[Johann Friedrich Reichardt|Reichardt]], 1781), ''Die Teufels Mühle am Wienerberg'' ([[Wenzel Müller|Müller]] 1799) || || ||<ref name=BT>Bauman, Thomas (1992), "Singspiel" in ''The New Grove Dictionary of Opera'', ed. Stanley Sadie (London)</ref>
| {{Section|Schauspiel mit Gesang}}Schauspiel mit Gesang || German || ''Literally'', 'play with singing'. Term used by [[Johann Wolfgang von Goethe|Goethe]] for his early libretti, though he called them [[Singspiel|Singspiele]] when revising them. ||{{Hs|1775}}''Erwin und Elmire'' ([[Johann Wolfgang von Goethe|Goethe]] 1775)|| ''Liebe nur beglückt'' ([[Johann Friedrich Reichardt|Reichardt]], 1781), ''Die Teufels Mühle am Wienerberg'' ([[Wenzel Müller|Müller]] 1799) || || ||<ref name=BT>Bauman, Thomas (1992), 'Singspiel' in ''The [[New Grove Dictionary of Opera]]'', ed. Stanley Sadie (London) ISBN 0-333-73432-7</ref>
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| {{Section|Schuloper}}{{lang|de|Schuloper}} || ''Literally'', 'school opera'. Early 20th century, opera created for performance by school children. || || ''[[Der Jasager]]'' (1930), ''Wir bauen eine Stadt'' ([[Paul Hindemith|Hindemith]], 1930) || || [[Kurt Weill|Weill]], [[Paul Hindemith|Hindemith]] ||<ref>Kemp, Ian (1992), "Schuloper" in ''The New Grove Dictionary of Opera'', ed. Stanley Sadie (London)</ref>
| {{Section|Schuloper}}Schuloper || German || ''Literally'', 'school opera'. Early 20th century, opera created for performance by school children. || || ''[[Der Jasager]]'' (1930), ''Wir bauen eine Stadt'' ([[Paul Hindemith|Hindemith]], 1930) || || [[Kurt Weill|Weill]], [[Paul Hindemith|Hindemith]] || <ref>Kemp, Ian (1992), 'Schuloper' in ''The [[New Grove Dictionary of Opera]]'', ed. Stanley Sadie (London) ISBN 0-333-73432-7</ref>
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| {{lang|en|[[Semi-opera]]}} || Early form of [[opera]] with singing, speaking and dancing roles. Popular between 1673 and 1710.||{{Hs|1674}}''The Tempest'' ([[Thomas Betterton|Betterton]], 1674) ||''[[Psyche (Locke)|Psyche]]'' (1675), ''[[King Arthur (opera)|King Arthur]]'' (1691), ''[[The Fairy-Queen]]'' (1692) || || [[Henry Purcell|Purcell]]||<ref name=OD />
| [[Semi-opera]] || English ||Early form of [[opera]] with singing, speaking and dancing roles. Popular between 1673 and 1710.||{{Hs|1674}}''The Tempest'' ([[Thomas Betterton|Betterton]], 1674) ||''[[Psyche (Locke)|Psyche]]'' (1675), ''[[King Arthur (opera)|King Arthur]]'' (1691), ''[[The Fairy-Queen]]'' (1692) || || [[Henry Purcell|Purcell]]|| <ref name=OD />
|-
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| {{Section|Sepolcro}}{{lang|it|Sepolcro}} || Azione sacra on the subject of the passion and crucifixion of Christ. || || || || [[Antonio Draghi|Draghi]] ||<ref name=HS />
| {{Section|Sepolcro}}Sepolcro || Italian || Azione sacra on the subject of the passion and crucifixion of Christ. || || || || [[Antonio Draghi|Draghi]] || <ref name=HS />
|-
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| {{lang|it|[[Serenata]]}} || ''Literally'', 'evening song'. Short opera performed at court for celebrations, similar to the [[azione teatrale]]. (Also used to refer to [[serenade]]s.) || || ''[[Acis and Galatea (Handel)|Acis and Galatea]]'' (1720), ''Il Parnaso confuso'' ([[Christoph Willibald Gluck|Gluck]] 1765)|| ||[[George Frideric Handel|Handel]], [[Christoph Willibald Gluck|Gluck]] ||<ref name=OD />
| [[Serenata]] || Italian || ''Literally'', 'evening song'. Short opera performed at court for celebrations, similar to the [[azione teatrale]]. (Also used to refer to [[serenade]]s.) || || ''[[Acis and Galatea (Handel)|Acis and Galatea]]'' (1720), ''Il Parnaso confuso'' ([[Christoph Willibald Gluck|Gluck]] 1765)|| ||[[George Frideric Handel|Handel]], [[Christoph Willibald Gluck|Gluck]] ||<ref name=OD />
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| {{lang|de|[[Singspiel]]}} (plural {{lang|de|''Singspiele''}}) || ''Literally'', 'song play'. Popular genre of the 18th/19th centuries, (though the term is also found as early as the 16th century). Derived originally from translations of [[English language|English]] [[ballad opera]]s, but also influenced by French [[opéra comique]]. Spoken [[dialogue]], combined with [[Musical ensemble|ensembles]], folk-coloured [[ballad]]s and [[aria]]s. Originally performed by traveling troupes. Plots generally comic or romantic, often including [[magic (paranormal)|magic]]. Developed into German 'rescue opera' and [[romantische Oper]].||{{Hs|1752}}''Der Teufel ist los'' (Johann Georg Standfuss, 1752) || ''[[Die verwandelten Weiber]]'' (1766), ''[[Die Jagd]]'' (1770), ''[[Die Entführung aus dem Serail]]'' (1782), ''[[Abu Hassan]]'' (1811) || || [[Johann Adam Hiller|Hiller]], [[Wolfgang Amadeus Mozart|Mozart]], [[Carl Maria von Weber|Weber]]||<ref name=OD /><ref name=BT />
| [[Singspiel]] (plural ''Singspiele'') ||German || ''Literally'', 'song play'. Popular genre of the 18th/19th centuries, (though the term is also found as early as the 16th century). Derived originally from translations of [[English language|English]] [[ballad opera]]s, but also influenced by French [[opéra comique]]. Spoken [[dialogue]], combined with [[Musical ensemble|ensembles]], folk-coloured [[ballad]]s and [[aria]]s. Originally performed by traveling troupes. Plots generally comic or romantic, often including [[magic (paranormal)|magic]]. Developed into German 'rescue opera' and [[romantische Oper]].||{{Hs|1752}}''Der Teufel ist los'' (Johann Georg Standfuss, 1752) || ''[[Die verwandelten Weiber]]'' (1766), ''[[Die Jagd]]'' (1770), ''[[Die Entführung aus dem Serail]]'' (1782), ''[[Abu Hassan]]'' (1811) || || [[Johann Adam Hiller|Hiller]], [[Wolfgang Amadeus Mozart|Mozart]], [[Carl Maria von Weber|Weber]]|| <ref name=OD /> <ref name=BT />
|-
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| {{Section|Situationsposse}}{{lang|de|Situationsposse}} || Specialized form of [[Posse mit Gesang]] concentrating on social situations. || || || || ||<ref name=OD />
| {{Section|Situationsposse}}Situationsposse || German || Specialized form of [[Posse mit Gesang]] concentrating on social situations. || || || || ||<ref name=OD />
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| {{Section|Songspiel}}{{lang|de|Songspiel}} || ''Literally'', 'song play'. Term invented by [[Kurt Weill]] to update the concept of [[Singspiel]] || || ''[[Mahagonny-Songspiel]]'' (1927)|| || [[Kurt Weill]] ||<ref name=OD />
| {{Section|Songspiel}}Songspiel || German || ''Literally'', 'song play'. Term invented by [[Kurt Weill]] to update the concept of [[Singspiel]] || || ''[[Mahagonny-Songspiel]]'' (1927)|| || [[Kurt Weill]] ||<ref name=OD />
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| {{lang|de|[[Spieloper]]}} || ''Literally'', 'opera play'. 19th-century light opera genre, derived from [[Singspiel]] and to a lesser extent [[opéra comique]], containing spoken dialogue. [[Fach#Spieltenor_.2F_Tenor_Buffo|Spieltenor]] and [[Fach#Spielbass_.2F_Bassbuffo|Spielbass]] are specialized voice types connected with the genre. || || ''[[Zar und Zimmermann]]'' (1837), ''[[The Merry Wives of Windsor (opera)|The Merry Wives of Windsor]]'' (1849) || || [[Albert Lortzing|Lortzing]], [[Otto Nicolai|Nicolai]] ||<ref name=OD />
| [[Spieloper]] || German || ''Literally'', 'opera play'. 19th-century light opera genre, derived from [[Singspiel]] and to a lesser extent [[opéra comique]], containing spoken dialogue. [[Fach#Spieltenor_.2F_Tenor_Buffo|Spieltenor]] and [[Fach#Spielbass_.2F_Bassbuffo|Spielbass]] are specialized voice types connected with the genre. || || ''[[Zar und Zimmermann]]'' (1837), ''[[The Merry Wives of Windsor (opera)|The Merry Wives of Windsor]]'' (1849) || || [[Albert Lortzing|Lortzing]], [[Otto Nicolai|Nicolai]] || <ref name=OD />
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| {{Section|Syngespil}}{{lang|da|Syngespil}} || Local form of [[Singspiel]]. Late 18th/19th century. || || ''Soliman den Anden'' ([[Giuseppe Sarti|Sarti]], 1770), ''[[Holger Danske (opera)|Holger Danske]]'' (1787), ''Høstgildet'' ([[Johann Abraham Peter Schulz|Schulz]], 1790) || ||[[Giuseppe Sarti|Sarti]], [[Johann Abraham Peter Schulz|Schulz]], [[F.L.Æ. Kunzen|Kunzen]] ||<ref name=OD />
| {{Section|Syngespil}}Syngespil || Danish || Local form of [[Singspiel]]. Late 18th/19th century. || || ''Soliman den Anden'' ([[Giuseppe Sarti|Sarti]], 1770), ''[[Holger Danske (opera)|Holger Danske]]'' (1787), ''Høstgildet'' ([[Johann Abraham Peter Schulz|Schulz]], 1790) || ||[[Giuseppe Sarti|Sarti]], [[Johann Abraham Peter Schulz|Schulz]], [[F.L.Æ. Kunzen|Kunzen]] || <ref name=OD />
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| {{lang|es|[[Tonadilla]]}} || ''Literally'', 'little tune'. 18th century miniature satirical genre, for one or more singer, that developed out of the sainete. Performed in between longer works.|| || ''La mesonera y el arriero'' ([[Luis Misón]], 1757) || || Antonio Guerrero, [[Luis Misón|Misón]], José Palomino||<ref name=OD />
| [[Tonadilla]] || Spanish || ''Literally'', 'little tune'. 18th century miniature satirical genre, for one or more singer, that developed out of the sainete. Performed in between longer works.|| || ''La mesonera y el arriero'' ([[Luis Misón]], 1757) || || Antonio Guerrero, [[Luis Misón|Misón]], José Palomino|| <ref name=OD />
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| {{Section|Tragédie}}{{lang|fr|Tragédie}} || ''alternative name for'' [[tragédie en musique]]|| || || || ||<ref name=GS />
| {{Section|Tragédie}}Tragédie || French || ''alternative name for'' [[tragédie en musique]]|| || || || || <ref name=GS />
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| {{lang|fr|[[Tragédie en musique]]}} || 17th/18th century lyric genre with themes from [[Classical mythology]] and the Italian epics of [[Torquato Tasso|Tasso]] and [[Ludovico Ariosto|Ariosto]], not necessarily with tragic outcomes. Usually 5 acts, sometimes with a prologue. Short arias (''petits airs'') contrast with dialogue in recitative, with choral sections and dancing.||{{Hs|1673}}''[[Cadmus et Hermione]]'' (1673)|| ''[[Médée (Charpentier)|Médée]]'' (1693), ''[[Scylla et Glaucus]]'' (1746)|| || [[Jean-Baptiste Lully|Lully]], [[Marin Marais|Marais]], [[Michel Pignolet de Montéclair|Montéclair]], [[André Campra|Campra]], [[Jean-Philippe Rameau|Rameau]] ||<ref name=OD /><ref name=GS />
| [[Tragédie en musique]] ||French || 17th/18th century lyric genre with themes from [[Classical mythology]] and the Italian epics of [[Torquato Tasso|Tasso]] and [[Ludovico Ariosto|Ariosto]], not necessarily with tragic outcomes. Usually 5 acts, sometimes with a prologue. Short arias (''petits airs'') contrast with dialogue in recitative, with choral sections and dancing.||{{Hs|1673}}''[[Cadmus et Hermione]]'' (1673)|| ''[[Médée (Charpentier)|Médée]]'' (1693), ''[[Scylla et Glaucus]]'' (1746)|| || [[Jean-Baptiste Lully|Lully]], [[Marin Marais|Marais]], [[Michel Pignolet de Montéclair|Montéclair]], [[André Campra|Campra]], [[Jean-Philippe Rameau|Rameau]] || <ref name=OD /><ref name=GS />
|-
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| {{Section|Tragédie lyrique}}{{lang|fr|Tragédie lyrique}} || ''alternative name for'' [[tragédie en musique]]|| || || || ||<ref name=GS />
| {{Section|Tragédie lyrique}}Tragédie lyrique || French || ''alternative name for'' [[tragédie en musique]]|| || || || || <ref name=GS />
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| {{Section|Tragédie mise en musique}}{{lang|fr|Tragédie mise en musique}} || ''alternative name for'' [[tragédie en musique]] || || || || ||<ref name=GS />
| {{Section|Tragédie mise en musique}}Tragédie mise en musique || French || ''alternative name for'' [[tragédie en musique]] || || || || || <ref name=GS />
|-
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| {{Section|Tragédie-opéra}}{{lang|fr|Tragédie-opéra}} || ''alternative name for'' [[tragédie en musique]]|| || || || ||<ref name=GS />
| {{Section|Tragédie-opéra}}Tragédie-opéra || French || ''alternative name for'' [[tragédie en musique]]|| || || || || <ref name=GS />
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| {{lang|it|[[Verismo]]}} || Late 19th/early 20th century opera movement inspired by literary naturalism and realism, and associated with Italian post-romanticism.||{{Hs|1890}}''[[Cavalleria rusticana]]'' (1890)|| ''[[Pagliacci]]'' (1892), ''[[Tosca]]'' (1900) || || [[Pietro Mascagni|Mascagni]], [[Ruggero Leoncavallo|Leoncavallo]], [[Giacomo Puccini|Puccini]], [[Umberto Giordano|Giordano]]||<ref name=OD />
| [[Verismo]] || Italian || Late 19th/early 20th century opera movement inspired by literary naturalism and realism, and associated with Italian post-romanticism.||{{Hs|1890}}''[[Cavalleria rusticana]]'' (1890)|| ''[[Pagliacci]]'' (1892), ''[[Tosca]]'' (1900) || || [[Pietro Mascagni|Mascagni]], [[Ruggero Leoncavallo|Leoncavallo]], [[Giacomo Puccini|Puccini]], [[Umberto Giordano|Giordano]]|| <ref name=OD />
| {{Section|Volksmärchen}}Volksmärchen || German || ''alternative name for'' Märchenoper.|| || ''Das Donauweibchen'' ([[Ferdinand Kauer|Kauer]] 1798) || || || <ref name=BM/>
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| {{lang|es|[[Zarzuela]]}} || Dating back to the 17th century and forward to the present day, this form includes both singing and spoken dialogue, also dance. Local traditions are also found in [[Cuba]] and the [[Philippines]].||{{Hs|1629}}''La selva sin amor'' ([[Lope de Vega]], 1627) || [[Doña Francisquita]] (1923), [[La dolorosa]] (1930), [[Luisa Fernanda (zarzuela)|Luisa Fernanda]] (1932)|| || [[Juan Hidalgo|Hidalgo]], [[Francisco Asenjo Barbieri|Barbieri]] ||<ref name=OD />
| [[Zarzuela]] || Spanish || Dating back to the 17th century and forward to the present day, this form includes both singing and spoken dialogue, also dance. Local traditions are also found in [[Cuba]] and the [[Philippines]].||{{Hs|1629}}''La selva sin amor'' ([[Lope de Vega]], 1627) || [[Doña Francisquita]] (1923), [[La dolorosa]] (1930), [[Luisa Fernanda (zarzuela)|Luisa Fernanda]] (1932)|| || [[Juan Hidalgo|Hidalgo]], [[Francisco Asenjo Barbieri|Barbieri]] || <ref name=OD />
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| {{Section|Zauberoper}}{{lang|de|Zauberoper}} || ''Literally'', 'magic opera'. Late 18th and early 19th centuries, particularly associated with Vienna. Heavier, more formal work than Zauberposse, but also with spoken dialogue. ||{{Hs|1789}}''Oberon, König der Elfen'' ([[Pavel Wranitzky|Wranitzky]], 1789) || ''[[Die Zauberflöte]]'' (1791), ''Das Donauweibchen'', ([[Ferdinand Kauer|Kauer]], 1798)|| || [[Ferdinand Kauer|Kauer]], [[Wenzel Müller|Müller]], [[Franz Schubert|Schubert]]||<ref name=OD />
| {{Section|Zauberoper}}Zauberoper || German || ''Literally'', 'magic opera'. Late 18th and early 19th centuries, particularly associated with Vienna. Heavier, more formal work than Zauberposse, but also with spoken dialogue. ||{{Hs|1789}}''Oberon, König der Elfen'' ([[Pavel Wranitzky|Wranitzky]], 1789) || ''[[Die Zauberflöte]]'' (1791), ''Das Donauweibchen'', ([[Ferdinand Kauer|Kauer]], 1798)|| || [[Ferdinand Kauer|Kauer]], [[Wenzel Müller|Müller]], [[Franz Schubert|Schubert]]||<ref name=OD />
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| {{Section|Zauberposse}}{{lang|de|Zauberposse}} || Specialized form of [[Posse mit Gesang]] concentrating on magic. || || ''Der Barometermacher auf der Zauberinsel'' ([[Wenzel Müller|Müller]] 1823)|| || [[Wenzel Müller|Müller]] ||<ref name=OD />
| {{Section|Zauberposse}}Zauberposse || German || Specialized form of [[Posse mit Gesang]] concentrating on magic. || || ''Der Barometermacher auf der Zauberinsel'' ([[Wenzel Müller|Müller]] 1823)|| || [[Wenzel Müller|Müller]] ||<ref name=OD />
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| {{lang|de|[[Zeitoper]]}} (plural {{lang|de|''Zeitopern''}})|| ''Literally'', 'opera of the times'. 1920s, early 1930s genre, using contemporary settings and characters, including references to modern technology and popular music. || || ''[[Jonny spielt auf]]'' (1927)|| || [[Ernst Krenek|Krenek]], [[Kurt Weill|Weill]], [[Paul Hindemith|Hindemith]] ||<ref>Sadie, Stanley (ed) (1992), "Zeitoper" in ''The New Grove Dictionary of Opera'', ed. Stanley Sadie (London)</ref>
| [[Zeitoper]] (plural ''Zeitopern'')|| German || ''Literally'', 'opera of the times'. 1920s, early 1930s genre, using contemporary settings and characters, including references to modern technology and popular music. || || ''[[Jonny spielt auf]]'' (1927)|| || [[Ernst Krenek|Krenek]], [[Kurt Weill|Weill]], [[Paul Hindemith|Hindemith]] || <ref>Sadie, Stanley (ed) (1992), 'Zeitoper' in ''The [[New Grove Dictionary of Opera]]'', ed. Stanley Sadie (London) ISBN 0-333-73432-7</ref>
|-
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| {{Section|Zwischenspiel}}{{lang|de|Zwischenspiel}} || German name for [[Intermezzo#Opera_intermezzo|intermezzo]] || || || || ||<ref name=OD />
| {{Section|Zwischenspiel}}Zwischenspiel || German || German name for [[Intermezzo#Opera_intermezzo|intermezzo]] || || || || || <ref name=OD />
|}
|}
==See also==
==See also==
The following cover other forms of entertainment that existed around the time of the appearance of the first operas in Italy at the end of the 16th century, which were influential in the development of the art form:
The following cover other forms of entertainment that existed around the time of the appearance of the first operas in Italy at the end of the 16th century, which were influential in the development of the art form:
*[[Intermedio]]
*[[Intermedio]]
*[[Masque]]
*[[Masque]]
Revision as of 07:36, 28 October 2009
Théâtre de la foire
The Paris Foire St Germain, circa 1763, after the fire of 1762.
Nicolet's theatre at the Foire St Laurent, circa 1786.
In the early 18th century, the Théâtre de la foire in Paris - a collective name for the theatres at the annual fairs at St Germain, St Laurent (see illustration below) and later, St Ovide - offered performances with both music and spoken dialogue. First called comédie en vaudeville, these developed into the opéra comique. The Théâtre de la foire appeared in London in the 1720s, to be imitated in the form of the English ballad opera, which in turn stimulated the creation of the German Singspiel.
This is an inclusive glossarylist of opera genres, giving alternative names.
'Opera' is an Italian word (short for 'opera in musica'), however it was not commonly used in Italy (or indeed in other countries) to refer to the genre of particular works. Most composers used more precise designations to present their work to the public. Often specific genres of opera were commissioned by theatres or patrons (in which case the form of the work might deviate more or less from the genre norm, depending on the inclination of the composer). Opera genres are not exclusive. Some operas are regarded as belonging to several. In the case of doubt the only authority is, ultimately, the composer himself. [1]
Definitions
Opera genres have been defined in different ways, not always in terms of stylistic rules. Some, like opera seria, refer to traditions identified by later historians [2], while others, like Zeitoper, have been defined by their own inventors. Other forms have been associated with a particular theatre, for example opéra comique at the theatre of the same name, or opéra bouffe at the Théâtre des Bouffes Parisiens.
This list does not include terms that are unhistorical, or vague and merely descriptive, such as 'rescue opera' [3], 'comic opera' [4], 'sacred opera', 'tragic opera' or 'one-act opera' etc. Original language terms are given to avoid the ambiguities that would be caused by English translations.
List
Genre
Language
Description
First known example
Major works
Last known example
Notable composers
Refs.
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Azione sacra || Italian ||Literally, 'sacred action'. 17th and early 18th century opera with religious subject. Performed at Vienna court. || || L'humanità redenta (Draghi, 1669) || || Draghi, Bertali, Pietro Andrea Ziani, Giovanni Battista Pederzuoli, Cesti || [5]
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Azione sepolerale || Italian ||alternative name for azione sacra || || || || || [5]
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Small-scale one-act opera, or musical play. Early form of chamber opera. Popular in late 17th and 18th centuries. (See also festa teatrale, a similar genre but on a larger scale.)
Entertainment originating in 18th-century London as a reaction against Italian opera. Early examples used existing popular ballad tunes set to satirical texts. Also popular in Dublin and America, Influenced the German Singspiel, and subsequently 20th-century opera.
Entertainment in Paris fair theatres at the end of the 17th century, mixing popular vaudeville songs with comedy. In the 18th century, developed into the opéra comique, while influencing directly the English ballad opera and indirectly the German Singspiel.
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Comédie lyrique || French || Literally, 'lyric comedy'. 18th century: description used by Rameau. 19th century: alternative name for opéra lyrique. || || Platée (1745), Les Paladins (1760) || || Rameau || [6]
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Dramma bernesco || Italian || alternative name foropera buffa || || || || || [7]
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Dramma comico || Italian || alternative name foropera buffa, 18th/early 19th century. Also used for the genre that replaced it from mid 19th century, with the elimination of recitatives. || || || || || [7]
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Dramma comico per musica || Italian || alternative name for dramma comico || || || || ||
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Dramma di sentimento || Italian || alternative name foropera semiseria || || || || || [5]
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Literally, 'jocular drama'. Mid 18th century form that developed out of the opera buffa, marked by the addition of serious, even tragic roles and situations to the comic ones. (Effectively a sub-genre of opera buffa in the 18th century.) [8]
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Dramma giocoso per musica || Italian || full term fordramma giocoso || || || || ||
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Dramma pastorale || Italian ||Literally, 'pastoral drama'. Used for some of the earliest operas down to the 18th century. || || Eumelio (Agazzari, 1606), La fede riconosciuta (A Scarlatti, 1710) || || A Scarlatti, Sarti || [5]
Literally, 'drama for music', or 'a play intended to be set to music' (i.e. a libretto). Later, synonymous with opera seria; in the 19th century, sometimes used for serious opera.
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Episode lyrique || French ||alternative name for opéra lyrique || || || || || [5]
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Fait historique || French ||Late 18th/19th century. Opéra or opéra comique based on French history, especially popular during the revolution. || L'incendie du Havre (1786)|| Joseph Barra (Grétry 1794), Le pont de Lody (Méhul 1797), Milton (1804)|| || Grétry, Méhul, Spontini || [5][9]
Literally, 'farce'. A form of one-act opera, sometimes with dancing, associated with Venice, especially the Teatro San Moisè, in the late 18th and early 19th centuries.
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Geistliche Oper || German ||Literally, 'sacred opera'. Genre invented by the Russian composer Anton Rubinstein for his German-language, staged opera-oratorios.|| Das verlorene Paradies (Rubinstein, 1856) || Der Thurm zu Babel (1870), Sulamith (1883), Moses (1894) || Christus (Rubinstein, 1895) || Rubinstein || [12]
19th-century genre, usually with 4 or 5 acts, large-scale casts and orchestras, and spectacular staging, often based on historical themes. Particularly associated with the Paris Opéra (1820s to c. 1850), but similar works were created in other countries.
Comic relief inserted between acts of opere serie in the early 18th century, typically involving slapstick, disguises etc. Spread throughout Europe In the 1730s. Predated Opera buffa.
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Liederspiel || German || Literally 'song-play'. Early 19th century genre in which existing lyrics, often well-known, were set to new music and inserted into a spoken play. || Lieb' und Treue (Reichardt, 1800)|| Kunst und Liebe (Reichardt, 1807)|| || ReichardtLindpaintner ||[14]
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Lokalposse || German || Specialized form of Posse mit Gesang concentrating on daily life themes, associated with the playwright Karl von Marinelli. || || || || ||[5]
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Märchenoper || German || 'Fairy-tale opera', a genre of 19th century opera usually with a supernatural theme. Similar to Zauberoper.|| || Hänsel und Gretel (1893) || || Humperdinck, Siegfried Wagner || [11]
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Märchenspiel || German || alternative name for Märchenoper|| || || || || [11]
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Melodramma serio || Italian || alternative name for opera seria|| || || || ||
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Musikdrama || German || Term associated with the later operas of Wagner but repudiated by him. [16] Nevertheless widely used by post-Wagnerian composers. || || Tiefland (1903), Salome (1905), Der Golem (d'Albert 1926)|| || d'Albert, Richard Strauss || [5][16]
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Major genre of comic opera in the 18th and early 19th centuries. Originating in Naples (especially the Teatro dei Fiorentini), its popularity spread during the 1730s, notably to Venice where development was influenced by the playwright/librettist Goldoni. Typically in three acts, unlike the intermezzo. Contrasting in style, subject matter, and the use of dialect with the formal, aristocratic opera seria.
Literally, 'comic opera'. Genre including arias, a certain amount of spoken dialogue (and sometimes recitatives). Closely associated with works written for the ParisOpéra-Comique. Themes included were serious and tragic, as well as light. Tradition developed from popular early 18th century comédies en vaudevilles and lasted into 20th century with many changes in style.
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Opéra lyrique || French || Literally, 'lyric opera'. Late 18th/19th century, less grandiose than grand opéra, but without the spoken dialogue of opéra comique. (Term applied more to the genre as a whole than individual operas.)|| || || || Gounod, Ambroise Thomas, Massenet || [5]
Literally, 'semi-serious opera'. Early/mid 19th century genre employing comedy but also, unlike opera buffa, pathos, often with a pastoral setting. Typically included a basso buffo role.
Literally, 'serious opera'. Dominant style of opera in the 18th century, not only in Italy but throughout Europe (except France). Rigorously formal works using texts, mainly based on ancient history, by poet-librettists led by Metastasio. Patronized by the court and the nobility. Star singers were often castrati.
Literally, 'little opera'. The earliest Offenbachian operettas in English were written by Sullivan (later with Gilbert), who nevertheless called them 'comic operas' or Savoy operas. Later works influenced the rise of musical theatre.
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Opérette vaudeville (or vaudeville opérette) || French || Subgenre of French opérette.||L'ours et le pacha (Hervé, 1842) || Mam'zelle Nitouche (1883)|| || Hervé, Victor Roger || [25]
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Literally 'a pie' or a hotchpotch. An adaptation or localization of an existing work that is loose, unauthorized, or inauthentic. Also used for a single work by a number of different composers, particularly in early 18th-century London.
Literally, 'farce with singing'. Popular entertainment of late 18th/early 19th centuries, associated with Vienna, Berlin and Hamburg. Similar to the Singspiel, but with more action and less music.
Der Alpenkönig und der Menschenfeind (Raimund, 1828)
Early 19th-century German genre derived from earlier French opéras comiques, dealing with 'German' themes of nature, the supernatural, folklore etc. Spoken dialogue, originally included with musical numbers, was eventually eliminated in works by Richard Wagner.
Literally, 'farce' or 'titbit'. 17th/18th century genre of comic opera similar to the Italian intermezzo, performed together with larger works. Popular in Madrid in the latter 18th century. During 19th century, the Sainete was synonymous with género chico.
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Saynète ||French || French for sainete. Description used for a particular style of opérette in the 19th century.|| || La caravane de l'amour (Hervé, 1854), Le rêve d'une nuit d'été (Offenbach, 1855), Le valet de coeur (Planquette, 1875) || || Hervé, Offenbach, Planquette || [27]
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Schauspiel mit Gesang || German || Literally, 'play with singing'. Term used by Goethe for his early libretti, though he called them Singspiele when revising them. ||Erwin und Elmire (Goethe 1775)|| Liebe nur beglückt (Reichardt, 1781), Die Teufels Mühle am Wienerberg (Müller 1799) || || ||[28]
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Schuloper || German || Literally, 'school opera'. Early 20th century, opera created for performance by school children. || || Der Jasager (1930), Wir bauen eine Stadt (Hindemith, 1930) || || Weill, Hindemith || [29]
Literally, 'song play'. Popular genre of the 18th/19th centuries, (though the term is also found as early as the 16th century). Derived originally from translations of Englishballad operas, but also influenced by French opéra comique. Spoken dialogue, combined with ensembles, folk-coloured ballads and arias. Originally performed by traveling troupes. Plots generally comic or romantic, often including magic. Developed into German 'rescue opera' and romantische Oper.
Literally, 'opera play'. 19th-century light opera genre, derived from Singspiel and to a lesser extent opéra comique, containing spoken dialogue. Spieltenor and Spielbass are specialized voice types connected with the genre.
Literally, 'little tune'. 18th century miniature satirical genre, for one or more singer, that developed out of the sainete. Performed in between longer works.
17th/18th century lyric genre with themes from Classical mythology and the Italian epics of Tasso and Ariosto, not necessarily with tragic outcomes. Usually 5 acts, sometimes with a prologue. Short arias (petits airs) contrast with dialogue in recitative, with choral sections and dancing.
Dating back to the 17th century and forward to the present day, this form includes both singing and spoken dialogue, also dance. Local traditions are also found in Cuba and the Philippines.
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Zauberoper || German || Literally, 'magic opera'. Late 18th and early 19th centuries, particularly associated with Vienna. Heavier, more formal work than Zauberposse, but also with spoken dialogue. ||Oberon, König der Elfen (Wranitzky, 1789) || Die Zauberflöte (1791), Das Donauweibchen, (Kauer, 1798)|| || Kauer, Müller, Schubert||[5]
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Zauberposse || German || Specialized form of Posse mit Gesang concentrating on magic. || || Der Barometermacher auf der Zauberinsel (Müller 1823)|| || Müller ||[5]
Literally, 'opera of the times'. 1920s, early 1930s genre, using contemporary settings and characters, including references to modern technology and popular music.
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Zwischenspiel || German || German name for intermezzo || || || || || [5]
See also
The following cover other forms of entertainment that existed around the time of the appearance of the first operas in Italy at the end of the 16th century, which were influential in the development of the art form:
^ McClymonds, Marita P and Heartz, Daniel: Opera seria in 'The New Grove Dictionary of Opera', ed. Stanley Sadie (London, 1992) ISBN 0-333-73432-7
^"'Rescue opera' is an unhistorical term of limited usefulness. It is not an authentic genre like 'opera buffa', and was coined only in the later 19th or early 20th century", Charleton, David: Rescue opera in 'The New Grove Dictionary of Opera', ed. Stanley Sadie (London, 1992) ISBN 0-333-73432-7
^"A general name for an operatic work in which the prevailing mood is one of comedy."The Oxford Dictionary of Opera, by John Warrack and Ewan West (1992), 782 pages, ISBN 0-19-869164-5
