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Melodramatic
A modern melodrama is a dramatic work in which the plot, typically sensationalized and for a strong emotional appeal, takes precedence over detailed characterization. Melodramas typically concentrate on dialogue that is often bombastic or excessively sentimental, rather than action. Characters are often flat, and written to fulfill stereotypes. Melodramas are typically set in the private sphere of the home, focusing on morality and family issues, love, and marriage, often with challenges from an outside source, such as a "temptress", a scoundrel, or an aristocratic villain. A melodrama on stage, filmed, or on television is usually accompanied by dramatic and suggestive music that offers cues to the audience of the drama being presented. In scholarly and historical musical contexts, ''melodramas'' are Victorian dramas in which orchestral music or song was used to accompany the action. The term is now also applied to stage performances without incidental music, novels, films, te ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pygmalion (melodrama)
''Pygmalion'' (french: Pygmalion, link=no) is the most influential dramatic work by Jean-Jacques Rousseau, other than his opera ''Le devin du village''. Though now rarely performed, it was one of the first ever melodramas (that is, a play consisting of pantomime gestures and the spoken word, both with a musical accompaniment). It is formed of spoken monodrama with instrumental musical interludes and thus can be credited with spreading a new theatrical genre, especially in German-speaking areas of Europe. He wrote it in 1762, with music by Horace Coignet. It was first performed at the Hôtel de Ville, Lyon in 1770. The work is considered a turning point for its author, who also wrote '' The Social Contract'' that same year. History Rousseau probably wrote his text in 1762, but hesitated to put on a production of it, complaining of his lack of skill (in Pygmalion's case in life-giving, in Rousseau's in music-writing). The merchant and amateur composer Horace Coignet allowed him to re ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Realism (arts)
Realism in the arts is generally the attempt to represent subject matter truthfully, without artificiality and avoiding speculative and supernatural elements. The term is often used interchangeably with naturalism, although these terms are not synonymous. Naturalism, as an idea relating to visual representation in Western art, seeks to depict objects with the least possible amount of distortion and is tied to the development of linear perspective and illusionism in Renaissance Europe. Realism, while predicated upon naturalistic representation and a departure from the idealization of earlier academic art, often refers to a specific art historical movement that originated in France in the aftermath of the French Revolution of 1848. With artists like Gustave Courbet capitalizing on the mundane, ugly or sordid, realism was motivated by the renewed interest in the common man and the rise of leftist politics. The Realist painters rejected Romanticism, which had come to dominate Fre ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Monodrama
A monodrama is a theatrical or operatic piece played by a single actor or singer, usually portraying one character. In opera In opera, a monodrama was originally a melodrama with one role such as Jean-Jacques Rousseau's ''Pygmalion'', which was written in 1762 and first staged in Lyon in 1770, and Georg Benda's work of the same name (1779). The term monodrama (sometimes mono-opera) is also applied to modern works with a single soloist, such as Arnold Schoenberg's ''Die glückliche Hand'' (1924), which besides the protagonist has two additional silent roles as well as a choral prologue and epilogue. ''Erwartung'' (1909) and ''La voix humaine'' (1959) closely follow the traditional definition, while in ''Eight Songs for a Mad King'' (1969) by Peter Maxwell Davies, the instrumentalists are brought to the stage to participate in the action. Twenty-first century examples can be found in '' Émilie'' (2008) by Kaija Saariaho and ''Four Sad Seasons Over Madrid'' (2008) or ''God's Ske ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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. It should not be confused with Melodrama (spelt with a single rather than a double m) in the sense either of Victorian stage melodrama (drama of exaggerated intensity) or of spoken declamation accompanied by background music (in Italian, ''melologo'').Budden, Julian: ''Melodramma'' in 'The New Grove Dictionary of Opera ''The New Grove Dictionary of Opera'' is an encyclopedia of opera, considered to be one of the best general reference sources on the subject. It is the largest work on opera in English, and in its printed form, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jean-Jacques Rousseau
Jean-Jacques Rousseau (, ; 28 June 1712 – 2 July 1778) was a Genevan philosopher, writer, and composer. His political philosophy influenced the progress of the Age of Enlightenment throughout Europe, as well as aspects of the French Revolution and the development of modern political, economic, and educational thought. His ''Discourse on Inequality'' and ''The Social Contract'' are cornerstones in modern political and social thought. Rousseau's sentimental novel ''Julie, or the New Heloise'' (1761) was important to the development of preromanticism and romanticism in fiction. His ''Emile, or On Education'' (1762) is an educational treatise on the place of the individual in society. Rousseau's autobiographical writings—the posthumously published '' Confessions'' (composed in 1769), which initiated the modern autobiography, and the unfinished '' Reveries of the Solitary Walker'' (composed 1776–1778)—exemplified the late 18th-century " Age of Sensibility", and featured an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Der Freischütz
' ( J. 277, Op. 77 ''The Marksman'' or ''The Freeshooter'') is a German opera with spoken dialogue in three acts by Carl Maria von Weber with a libretto by Friedrich Kind, based on a story by Johann August Apel and Friedrich Laun from their 1810 collection ''Gespensterbuch''. It premiered on 18 June 1821 at the Schauspielhaus Berlin. It is considered the first German Romantic opera. The opera's plot is mainly based on August Apel's tale "Der Freischütz" from the ''Gespensterbuch'' though the hermit, Kaspar and Ännchen are new to Kind's libretto. That Weber's tunes were just German folk music is a common misconception. Its unearthly portrayal of the supernatural in the famous Wolf's Glen scene has been described as "the most expressive rendering of the gruesome that is to be found in a musical score". Performance history The reception of ''Der Freischütz'' surpassed Weber's own hopes and it quickly became an international success, with productions in Vienna the same year f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fidelio
''Fidelio'' (; ), originally titled ' (''Leonore, or The Triumph of Marital Love''), Op. 72, is Ludwig van Beethoven's only opera. The German libretto was originally prepared by Joseph Sonnleithner from the French of Jean-Nicolas Bouilly, with the work premiering at Vienna's Theater an der Wien on 20 November 1805. The following year, Stephan von Breuning helped shorten the work from three acts to two. After further work on the libretto by Georg Friedrich Treitschke, a final version was performed at the Kärntnertortheater on 23 May 1814. By convention, both of the first two versions are referred to as ''Leonore''. The libretto, with some spoken dialogue, tells how Leonore, disguised as a prison guard named "Fidelio", rescues her husband Florestan from death in a political prison. Bouilly's scenario fits Beethoven's aesthetic and political outlook: a story of personal sacrifice, heroism, and eventual triumph. With its underlying struggle for liberty and justice mirroring con ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Zaide
''Zaide'' (originally, ''Das Serail'') is an unfinished German-language opera, K. 344, written by Wolfgang Amadeus Mozart in 1780. Emperor Joseph II, in 1778, was in the process of setting up an opera company for the purpose of performing German opera. One condition required of the composer to join this company was that he should write a comic opera. At Salzburg in 1779 Mozart began work on a new opera (now known as ''Zaide'' although Mozart did not give it such a title). It contains spoken dialogue, which also classifies it as a ''Singspiel'' (literally, "singing play"). Only the arias and ensembles from the first two acts were composed. Missing are an overture and third act. It was popular at the time for operas to depict the rescue of enslaved Westerners from Muslim courts, since Muslim pirates were preying on Mediterranean shipping, particularly to obtain slaves for various purposes. This story portrays Zaide's effort to save her beloved, Gomatz. Mozart was composing f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Medea (Benda)
''Medea'' is a melodrama in one act with five scenes by Bohemian composer Georg Benda with a German libretto by Friedrich Wilhelm Gotter. The work was first performed in Leipzig at the Theater am Rannstädtertor on 1 May 1775. Historical impact and musical analysis ''Medea'' is considered to be one of Benda's best works and the composition had a significant impact on other composers of the late 18th century by popularizing the emerging genre of melodrama. Among those inspired by the work are Carl Philipp Emanuel Bach and Wolfgang Amadeus Mozart. Mozart in a letter to his father dated November 12, 1778 wrote, "The piece I saw was Benda’s ''Medea''. He has composed another one, ''Ariadne auf Naxos'', and both are really excellent. You know that of all the Lutheran Kapellmeisters Benda has always been my favorite, and I like those two works of his so much that I carry them about with me." Although Mozart never wrote a full melodrama, he did create a miniature melodrama within his un ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ariadne Auf Naxos (Benda)
(''Ariadne on Naxos''), Op. 60, is a 1912 opera by Richard Strauss with a German libretto by Hugo von Hofmannsthal. The opera's unusual combination of elements of low commedia dell'arte with those of high opera seria points up one of the work's principal themes: the competition between high and low art for the public's attention. First version (1912) The opera was originally conceived as a 30-minute divertissement to be performed at the end of Hofmannsthal's adaptation of Molière's play ''Le Bourgeois gentilhomme.'' Besides the opera, Strauss provided incidental music to be performed during the play. In the end, the opera occupied ninety minutes, and the performance of play plus opera occupied over six hours. It was first performed at the Hoftheater Stuttgart on 25 October 1912, directed by Max Reinhardt. The combination of the play and opera proved to be unsatisfactory to the audience: those who had come to hear the opera resented having to wait until the play finished. T ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Georg Benda
Georg Anton Benda ( cz, Jiří Antonín Benda, italic=no, link=no; 30 June 17226 November 1795) was a composer, violinist and Kapellmeister of the classical period from the Kingdom of Bohemia. Biography Born into a family of notable musicians in Old Benatek (today Benátky nad Jizerou), Bohemia, he studied at the Piarist Gymnasium (grammar school) in Kosmanos and at the Jesuit Gymnasium in Gitschin from 1735 to 1742. Benda was 19 when Frederick the Great bestowed upon him in 1741 the position of second violinist in the chapel of Berlin. The following year Benda was summoned to Potsdam as a composer and arranger for his older brother Franz, himself an illustrious composer and violinist. Seven years later, in 1749, he entered the service of the Duke of Gotha as ''Kapellmeister,'' where he constantly cultivated his talents for composition, specializing in religious music. A stipend from the duke allowed Benda to take a study trip to Italy in 1764. He returned to Gotha in 1766, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Duodrama
A duodrama is a theatrical melodrama for two actors or singers, in which the spoken voice is used with a musical accompaniment for heightened dramatic effect. It was popular at the end of the 18th century and the beginning of the 19th. Closely related to opera, the most famous example were the 1775 works ''Ariadne auf Naxos'' and ''Medea'' by Georg Benda. Mozart admired Benda's work and used similar techniques in ''Zaide'' (1780) and ''Thamos, König in Ägypten'' (c. 1773-1780). He considered writing a duodrama himself, to be called ''Semiramis''. Beethoven's ''Fidelio'' (1805-1814) and Carl Maria von Weber's ''Der Freischütz'' (1821) also contain duodramas. The style is also used in lieder and song. Warrack, John and West, Ewan (1992), ''The Oxford Dictionary of Opera'', 782 pages, See also *Monodrama *Melodrama A modern melodrama is a dramatic work in which the plot, typically sensationalized and for a strong emotional appeal, takes precedence over detailed characterizati ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
