![]() ![]() He illustrates this by analyzing Wagner’s Tristan und Isolde. German opera came to consider opera a “music drama,” which totally integrated music and drama. He then jumps to German opera, which developed independently from the popular German singspiel.He illustrates the characteristics of French opera by analyzing Bizet’s Carmen. He then jumps from Italian opera to French opera, which developed independently and supported the aristocracy and emphasized dance.He illustrates this by analyzing Verdi’s Otello. He shows that Verdi advanced opera by rebalancing and integrating the music with the drama. ![]() He illustrates this by analyzing Rossini’s The Barber of Seville. He shows that the music overshadowed the drama as Italian opera developed the bel canto style, which emphasized the beauty of the singing.He illustrates opera buffa by analyzing Mozart’s The Marriage of Figaro. He shows that as opera seria came to be considered overblown and improbable, Italian opera developed opera buffa, a sort of comic opera.He illustrates this style by analyzing Mozart’s Idomeneo He shows how this developed into a style – opera seria, usually about a mythic figure.He shows that the singing is used to enhance the existing stage dramas. He explains the invention of opera in Italy by analyzing Orfeo by Monteverdi.He shows that, by the Renaissance, drama was enhanced by music between acts and then music *during* the drama. ![]()
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