Is La buona figliuola in the Opera buffa genre?
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La buona figliuola La buona figliuola ("The Good-Natured Girl" or "The Accomplish'd Maid"), or La Cecchina ("Cecchina"), is an opera buffa in three acts by Niccolò Piccinni. The libretto, by Carlo Goldoni, is based on Samuel Richardson's novel "Pamela". This was Piccinni's most successful Italian opera. There was a sequel entitled "La buona figliuola maritata" (1761) by the same composer and librettist. "La buona figliuola supposta vedova" by Gaetano Latilla followed in 1766.
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Opera buffa Opera buffa (] ; plural: "opere buffe"; Italian for "comic opera") is a genre of opera. It was first used as an informal description of Italian comic operas variously classified by their authors as "commedia in musica", "commedia per musica", "dramma bernesco", "dramma comico", "divertimento giocoso".
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Zarzuela Zarzuela (] ) is a Spanish lyric-dramatic genre that alternates between spoken and sung scenes, the latter incorporating operatic and popular song, as well as dance. The etymology of the name is uncertain, but some propose it may derive from the name of a Royal hunting lodge, the "Palacio de la Zarzuela" near Madrid, where, allegedly, this type of entertainment was first presented to the court. The palace was named after the place called "La Zarzuela" because of the profusion of brambles ("zarzas") that grew there, and so the festivities held within the walls became known as "Zarzuelas".
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Gaspare Spontini Gaspare Luigi Pacifico Spontini (14 November 177424 January 1851) was an Italian opera composer and conductor.
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L'italiana in Algeri L'Italiana in Algeri (] ; English: The Italian Girl in Algiers ) is an operatic "dramma giocoso" in two acts by Gioachino Rossini to an Italian libretto by Angelo Anelli, based on his earlier text set by Luigi Mosca. It premiered at the Teatro San Benedetto in Venice on 22 May 1813. The music is characteristic of Rossini's style, remarkable for its fusion of sustained, manic energy with elegant, pristine melodies.
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La canterina La canterina ("The Songstress" or "The Diva"), Hob. XXVIII/2, is a short, two-act opera buffa by Joseph Haydn, the first one he wrote for Prince Esterhazy. Based on the intermezzo from the third act of Niccolò Piccinni's opera L'Origille (1760), it lasts about 50 minutes. It was written in 1766, and was premiered in the fall of that year.
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Genoveva Genoveva, Op. 81, is an opera in four acts by Robert Schumann in the genre of German Romanticism with a libretto by Robert Reinick and the composer. The only opera Schumann ever wrote, it received its first performance on 25 June 1850 at the Stadttheater in Leipzig, with the composer conducting. It received only three performances during the premiere, and the negative criticism it received in the press played a decisive role in Schumann's decision to not write a second opera.
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Mirandolina Mirandolina (H. 346) is a comic opera in three acts by Bohuslav Martinů, with a libretto (in Italian) by the composer after Carlo Goldoni's 1751 comedy "La locandiera" ("The Mistress of the Inn"). Salieri had an opera ("dramma giocoso") on the same subject premiered at the Vienna Kärtnertortheater in 1773.
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La diavolessa La diavolessa ("The She-devil") is an opera (dramma giocoso) in 3 acts by Baldassare Galuppi. The Italian-language libretto was by Carlo Goldoni. It premiered in November 1755 at the Teatro San Samuele, Venice.
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Opéra féerie Opéra féerie (plural: "opéras féeries ") is a French genre of opera or opéra-ballet, often with elements of magic in their stories. Popular in the 18th century, from the time of Jean-Philippe Rameau onwards, the form reached its culmination with works such as "La belle au bois dormant" by Michele Carafa and "Cendrillon" by Nicolas Isouard at the beginning of the 19th century.
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La gazza ladra La gazza ladra (] , The Thieving Magpie) is a "melodramma" or opera semiseria in two acts by Gioachino Rossini, with a libretto by Giovanni Gherardini based on "La pie voleuse" by Théodore Baudouin d'Aubigny and Louis-Charles Caigniez.
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Eugenia Burzio Eugenia Burzio (13 June 1882 – 16 May 1922 – the dates on her grave ) was an Italian operatic soprano known for her vibrant voice and passionate style of singing. "There were legions of Burzio fans. One cannot imagine the following she had. People were hysterical about her." (Ester Mazzoleni).
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Francesco Dominici (operatic tenor) Francesco Dominici (1885–1968) was an Italian operatic tenor particularly admired for his acting in comedic roles. He made his professional opera debut as Fernando in Donizetti's "La favorite" at the Teatro Donizetti in Bergamo in 1914. He created the role of Prunier in the original 1917 production of Puccini's "La rondine" at the Grand Théâtre de Monte Carlo, a role which he performed at many other opera houses including the Teatro Comunale di Bologna. Over the next several years he played mostly leading roles at the Teatro Costanzi in Rome including Rodolfo in Puccini's "La Bohème", Fenton in Verdi's "Falstaff", and the Ernesto in Donizetti's "Don Pasquale". In the early 1920s he joined the roster at La Scala where he began playing more buffo roles than leading roles. In 1921, he sang the role of doctor Cajus in Verdi's Falstaff at La Scala and in 1922 was Filipeto in the company's first production of Ermanno Wolf-Ferrari's "I quattro rusteghi". In 1926 he created the role of Emperor Altoum in the original production of Puccini's "Turandot" at La Scala. In 1929 he went on tour with La Scala to Germany. Other roles that Dominici performed at La Scala include David in Wagner's "Die Meistersinger von Nürnberg", Monostatos in Mozart's "The Magic Flute", and the Neipperg in Umberto Giordano's "Madame Sans-Gêne". In 1931 he moved to Cuba, where he taught music for many years. Dominici died in Havana in 1968.
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La finta semplice La finta semplice ("The Fake Innocent"), K. 51 (46a) is an opera buffa in three acts for seven voices and orchestra, composed in 1768 by then 12-year-old Wolfgang Amadeus Mozart. Young Mozart and his father Leopold were spending the year in Vienna, where Leopold was trying to establish his son as an opera composer. He was acting on a suggested request from the Emperor Joseph II that the young boy should write an opera.
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Melodramma Melodramma (plural: "melodrammi") is a 17th-century Italian term for a text to be set as an opera, or the opera itself. In the 19th-century, it was used in a much narrower sense by English writers to discuss developments in the early Italian libretto, e.g., "Rigoletto" and "Un ballo in maschera". Characteristic are the influence of French bourgeois drama, female instead of male protagonists, and the practice of opening the action with a chorus.
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Chiaroscuro (music) Chiaroscuro (Italian for "light-dark") is part of bel canto an originally Italian classical singing technique in which a brilliant sound referred to as "squillo" is coupled with a dark timbre called "scuro ", which is often perceived as having great depth or warmth. "Chiaroscuro" is commonly used in opera. Within operatic singing, especially in Italian, the vowel "Ah" is a perfect example of where "chiaroscuro " can be used. When singing "Ah" it must have a bright Italian "Ah", while at the same time having depth and space in the tone, achieved through the use of breath and the body.
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The Hero (opera) The Hero is a two-act opera by Italian-American composer Gian Carlo Menotti. Commissioned by the Opera Company of Philadelphia, the work premiered at the Philadelphia Academy of Music on June 1, 1976. At this point of his career, Menotti's style of composition, which rejected the avant-garde, was out of favor with the classical music world. "Time" stated in its review of the opera, "Most of Menotti's music is passable Puccini: melodic, easy to take—and totally beside the point in 1976."
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Il campiello Il campiello ("The Little Square") is an opera in three acts by Ermanno Wolf-Ferrari. The Italian-language libretto was by Mario Ghisalberti, after the famous comedy of the same name written for the 1756 Venetian Carnival by the great Venetian playwright, Carlo Goldoni.
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Il Bellerofonte Il Bellerofonte is an 18th-century Italian opera in three acts by the Czech composer Josef Mysliveček. It conforms to the serious type (opera seria) that was typically set in the distant past. The libretto, based on the Greek legend of Bellerophon, was written by Giuseppe Bonecchi. The work was dedicated to King Ferdinand I of the Two Sicilies and was first performed at the Teatro San Carlo in Naples on 20 January 1767, the birthday of his father, King Charles III of Spain. The cast featured two stellar singers of the time, Caterina Gabrielli and Anton Raaff, in the leading roles. The opera was only the composer's second one, and the first that permitted him the opportunity to write music for first-rate vocal artists. The production was highly successful, indeed responsible for a meteoric rise in his reputation as an operatic composer. From the time of the premiere of "Bellerofonte" until his death in 1781, Mysliveček succeeded in having more new "opere serie" brought into production than any other composer in Europe. During the same time span, he also had more new operas staged at the Teatro San Carlo in Naples than any other composer.
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La pietra del paragone La pietra del paragone (The Touchstone) is an opera, or melodramma giocoso, in two acts by Gioachino Rossini, to an original Italian libretto by Luigi Romanelli.
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Origins of opera The art form known as "opera" originated in Italy in the sixteenth and seventeenth centuries, though it drew upon older traditions of medieval and Renaissance courtly entertainment. The word "opera", meaning "work" in Italian, was first used in the modern musical and theatrical sense in 1639 and soon spread to the other European languages. The earliest operas were modest productions compared to other Renaissance forms of sung drama, but they soon became more lavish and took on the spectacular stagings of the earlier genre known as intermedio.
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La Fenice Teatro La Fenice (] , "The Phoenix") is an opera house in Venice, Italy. It is one of "the most famous and renowned landmarks in the history of Italian theatre", and in the history of opera as a whole. Especially in the 19th century, La Fenice became the site of many famous operatic premieres at which the works of several of the four major "bel canto" era composers—Rossini, Bellini, Donizetti, and Verdi were performed.