Opera is an art form in which singers and musicians perform a dramatic work (called an opera) which combines a text (called a libretto) and a musical score. Opera is part of the Western classical music tradition. Opera incorporates many of the elements of spoken theatre, such as acting, scenery and costumes and sometimes includes dance. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble.
Opera started in Italy at the end of the 16th century (with Jacopo Peri's lost Dafne, produced in Florence around 1597) and soon spread through the rest of Europe: Schütz in Germany, Lully in France, and Purcell in England all helped to establish their national traditions in the 17th century. However, in the 18th century, Italian opera continued to dominate most of Europe, except France, attracting foreign composers such as Handel. Opera seria was the most prestigious form of Italian opera, until Gluck reacted against its artificiality with his "reform" operas in the 1760s. Today the most renowned figure of late 18th century opera is Mozart, who began with opera seria but is most famous for his Italian comic operas, especially The Marriage of Figaro, Don Giovanni, and Così fan tutte, as well as The Magic Flute, a landmark in the German tradition.
The first third of the 19th century saw the highpoint of the bel canto style, with Rossini, Donizetti and Bellini all creating works that are still performed today. It also saw the advent of Grand Opera typified by the works of Meyerbeer. The mid to late 19th century is considered by some a golden age of opera, led by Wagner in Germany and Verdi in Italy. This 'golden age' developed through the verismo era in Italy and contemporary French opera through to Puccini and Strauss in the early 20th century. During the 19th century, parallel operatic traditions emerged in Central and Eastern Europe, particularly in Russia and Bohemia. The 20th century saw many experiments with modern styles, such as atonality and serialism (Schoenberg and Berg), Neo-Classicism (Stravinsky), and Minimalism (Philip Glass and John Adams). With the rise of recording technology, singers such as Enrico Caruso became known to audiences beyond the circle of opera fans. Operas were also performed on (and written for) radio and television.
7) is an opera by George Frideric Handel
composed in 1711, and was the first Italian language opera
written specifically for the London stage. The libretto
was prepared by Giacomo Rossi
from a scenario provided by Aaron Hill
, and the work was first performed at the Queen's Theatre
in London's Haymarket
on 24 February 1711. The story of love, battle and redemption set at the time of the First Crusade
is loosely based on Torquato Tasso
's epic poem Gerusalemme liberata
("Jerusalem Delivered"), and its staging involved many original and vivid effects. It was a great success with the public, despite negative reactions from literary critics hostile to the contemporary trend towards Italian entertainment in English theatres. The music for Rinaldo
was composed very quickly. Much of it is made up of borrowings and adaptations from the operas and other works that Handel had composed during his long stay in Italy in 1706–10. In the years following the premiere, Handel frequently introduced new numbers, discarded others, and transposed parts to different voice ranges. Despite the lack of a standard edition, with its spectacular vocal and orchestral passages Rinaldo
has been cited as one of Handel's greatest operas. Of its individual numbers the soprano aria "Lascia ch'io pianga
" has become a particular favourite and is a popular concert piece.
Title page of Rigoletto, an opera by Giuseppe Verdi with a libretto by Francesco Maria Piave based on Victor Hugo's play Le roi s'amuse. Despite serious initial problems with the censors, the opera had a triumphant premiere at La Fenice in Venice on 11 March 1851 and is considered by many to be the first of the operatic masterpieces of Verdi's middle-to-late career. Its tragic story revolves around the licentious Duke of Mantua, his hunch-backed court jester Rigoletto, and Rigoletto's beautiful daughter Gilda. The opera's original title, La maledizione (The Curse), refers to the curse placed on both the Duke and Rigoletto by a courtier whose daughter had been seduced by the Duke with Rigoletto's encouragement. The curse comes to fruition when Gilda likewise falls in love with the Duke and eventually sacrifices her life to save him from the assassins hired by her father.
- 1 August 1831 – The great Italian baritone, Antonio Cotogni was born.
- 2 August 1921 – The famous Italian tenor, Enrico Caruso died in Naples, the city of his birth, at the age of 48.
- 3 August 1778 – La Scala, Italy's leading opera house, was inaugurated with the world premiere performance of Salieri's Europa riconosciuta.
- 13 August 1876 – The Bayreuth Festspielhaus was inaugurated with a performance of Das Rheingold, beginning the first performance of the cycle Der Ring des Nibelungen.
- 22 August 1862 – Claude Debussy, the composer of Pelléas et Mélisande, was born in Saint-Germain-en-Laye.
- 24 August 1817 – Soprano Nancy Storace (pictured), who created the role of Susanna in Mozart's Le nozze de Figaro died in London at the age of 50.
- 27 August 1868 – The Danish tenor Erik Schmedes, particularly known for performances in Wagner's operas, was born in Gentofte, near Copenhagen.
- 28 August 1850 – Richard Wagner's opera, Lohengrin, had its world premiere at the Staatskapelle, Weimar in a performance conducted by Franz Liszt.
- 30 August 1953 – Gaetano Merola, the Italian conductor and founder of the San Francisco Opera, died in San Francisco while conducting a performance of Madame Butterfly.
(25 September 1906 – 9 August 1975) was a Russian composer
of the Soviet
period. He is best known for his satirical opera The Nose,
(based on the story
) and his cycles of symphonies
and string quartets
, 15 of each. Since his death in 1975, reports about his true personal opinions about life in the USSR have been controversial. While he outwardly conformed with the state and was a public face for state-crafted propaganda
, it is now widely known that he deeply disliked the Soviet regime —a view confirmed by his family, by private letters to Isaak Glikman, and the satirical cantata Anti-Formalist Rayok
, which ridiculed the "anti-formalism" campaign in Soviet arts and was known only to his closest friends until after his death.