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Spieloper
In the 19th century, Spieloper ('opera play') was understood to mean a light opera genre, developed from Singspiel. Works typical of the genre include those by Albert Lortzing, such as ''Zar und Zimmermann'', and Otto Nicolai's '' The Merry Wives of Windsor''. A key difference between Spieloper and Singspiel on the one hand, and opera buffa on the other, is that the two former genres contain spoken dialogues instead of recitatives, which is why Conradin Kreutzer's '' Das Nachtlager in Granada'' and Friedrich von Flotow's ''Martha'' do not belong to this genre. Technically, a Spieloper is an opera with a comic plot and light, pleasant music, differentiating it from more serious opera. Similarly, there are special role types such as Spieltenor or Spielbass for singers with lighter voices and the ability to act in comedies. The Spieloper was also inspired by the French opéra comique of the late 18th century, a narrowly defined form of opera. The boundaries between Spieloper and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Albert Lortzing
Gustav Albert Lortzing (23 October 1801 – 21 January 1851) was a German composer, librettist, actor and singer. He is considered to be the main representative of the German ''Spieloper'', a form similar to the French '' opéra comique'', which grew out of the '' Singspiel''. Life and career Lortzing was born in Berlin to Johann Gottlieb and Charlotte Sophie Lortzing. They had abandoned their leather shop and travelled through Germany as itinerant actors, founding the Berlin theatre company ''Urania'', and turning their amateur passion into a profession. The young Lortzing's first stage appearance was at the age of 12, entertaining the audience with comic poems during the interval in the ''Kornhaus'' at the Freiburg Münster. From 1817, the Lortzing family were part of Josef Derossi ensemble in the Rhineland, treading the boards at Bonn, Düsseldorf, Barmen and Aachen. Albert Lortzing became an audience favourite, playing the roles of a youthful lover, a country boy and bon ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Opera
Opera is a form of theatre in which music is a fundamental component and dramatic roles are taken by singers. Such a "work" (the literal translation of the Italian word "opera") is typically a collaboration between a composer and a librettist and incorporates a number of the performing arts, such as acting, scenery, costume, and sometimes dance or ballet. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble, which since the early 19th century has been led by a conductor. Although musical theatre is closely related to opera, the two are considered to be distinct from one another. Opera is a key part of the Western classical music tradition. Originally understood as an entirely sung piece, in contrast to a play with songs, opera has come to include numerous genres, including some that include spoken dialogue such as '' Singspiel'' and '' Opéra comique''. In traditional number opera, singers employ two styles of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Das Nachtlager In Granada
''Das Nachtlager in Granada'' (''The Night Camp in Granada'') is a romantic opera in two acts by Conradin Kreutzer. The libretto is by based on Johann Friedrich Kind's 1818 drama of the same name. Performance history The premiere of a first version with spoken dialogue was performed on 13 January 1834 at Theater in der Josefstadt, Vienna. The second version (with recitatives) was performed on 9 March 1837 at Theater am Kärntnertor. It was subsequently given in London at the former Prince's Theatre on 13 May 1840, and in New York City on 15 December 1862. Roles Synopsis :Place: Granada in Spain :Time: middle of the 16th century References Further reading The Met Recordings Synopsis*Warrack, John and West, Ewan (1992), ''The Oxford Dictionary of Opera'', 782 pages, External links Das Nachtlager in Granada : romantische Oper in 2 Akten 1880 publication on archive.org * Libretto * , Bratislava Philharmonic Orchestra and Chorus, conductor: Kurt Wöss Kurt Wöss also Kur ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Posse Mit Gesang
''Posse mit Gesang'' ("farce with singing", plural: Possen) is a form of popular German-language music drama, that developed in the late 18th and early 19th centuries. Early examples are sometimes called 'Possenspil' or 'Possenspiel'. It is also sometimes referred to simply as 'Posse' (farce). Associated with Vienna, and also Berlin and Hamburg, the Posse mit Gesang was similar to the Singspiel, but generally had more action and less music than the more operatic form. Viennese examples included Ferdinand Raimund's ''Der Alpenkönig und der Menschenfeind'' of 1828 and many of the works of Johann Nestroy. Composers who contributed music for Posse included Wenzel Müller, Conradin Kreutzer, and Philip Jakob Riotte. Some 20th-century examples of posse written by Walter Kollo were '' Filmzauber'' (1912) and ' (1913). More specialized examples of the genre were 'Lokalposse' (daily life themes), 'Zauberposse' (magic), 'Charakterposse' (personalities), 'Situationsposse' (situations), an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Opéra Comique
''Opéra comique'' (; plural: ''opéras comiques'') is a genre of French opera that contains spoken dialogue and arias. It emerged from the popular '' opéras comiques en vaudevilles'' of the Fair Theatres of St Germain and St Laurent (and to a lesser extent the Comédie-Italienne),M. Elizabeth C. Bartlet and Richard Langham Smith"Opéra comique" '' Grove Music Online''. Oxford Music Online. 19 November 2009 which combined existing popular tunes with spoken sections. Associated with the Paris theatre of the same name, ''opéra comique'' is not necessarily comical or shallow in nature; '' Carmen'', perhaps the most famous ''opéra comique'', is a tragedy. Use of the term The term ''opéra comique'' is complex in meaning and cannot simply be translated as "comic opera". The genre originated in the early 18th century with humorous and satirical plays performed at the theatres of the Paris fairs which contained songs ('' vaudevilles''), with new words set to already existing music. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fach
The German system (; literally "compartment" or "subject of study", here in the sense of "vocal specialization") is a method of classifying singers, primarily opera singers, according to the range, weight, and color of their voices. It is used worldwide, but primarily in Europe, especially in German-speaking countries and by repertory opera houses. The ' system is a convenience for singers and opera houses. It prevents singers from being asked to sing roles which they are incapable of performing. Opera companies keep lists of available singers by ' so that when they are casting roles for an upcoming production, they do not inadvertently contact performers who would be inappropriate for the part. Below is a list of ' (), their ranges as written on sheet music, and roles generally considered appropriate to each. When two names for the ' are given, the first is in more common use today. Where possible, an English and/or Italian equivalent of each ' is listed; however, not all ' hav ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Martha (opera)
''Martha, oder Der Markt zu Richmond'' (''Martha, or The Market at Richmond'') is a ''romantic comic'' opera in four acts by Friedrich von Flotow set to a German libretto by and based on a story by Jules-Henri Vernoy de Saint-Georges. Flotow had composed the first act of a ballet, ''Harriette, ou la servante de Greenwiche'', derived from a text by Saint-Georges, for the ballerina Adèle Dumilâtre. This was first performed by the Paris Opera Ballet at the Salle Le Peletier on 21 February 1844. The time available for the composition was short, so the second and third acts were assigned, respectively, to Friedrich Burgmüller and Édouard Deldevez. The opera ''Martha'' was an adaptation of this ballet. Critical appreciation According to Gustav Kobbé, ''Martha'', though written by a native of Mecklenburg and first performed in Vienna, is French in character and elegance. Flotow was French in his musical training, as were the origins of both the plot and the score of this work, ef ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Friedrich Von Flotow
Friedrich Adolf Ferdinand, Freiherr von Flotow /flo:to/ (27 April 1812 – 24 January 1883) was a German composer. He is chiefly remembered for his opera ''Martha'', which was popular in the 19th century and the early part of the 20th. Life Born in Teutendorf, in Mecklenburg, into an aristocratic family, Flotow was French-trained. Although he was intended for a diplomatic career, his father acceded to his wishes and he studied at the Conservatoire de Paris under Anton Reicha. During this time came under the influence of Auber, Rossini, Meyerbeer, Donizetti, Halévy, and later Gounod and Offenbach. These influences are reflected in his operas, where a distinctive French ''opéra comique'' flavour exists. During the 1830 revolution he returned home, writing chamber music and operetta until it was safe to return to Paris. He completed his first opera in 1835, ''Pierre et Cathérine'', but his breakthrough came with ''Le naufrage de la Méduse'' (1839), based on the wreck of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Recitative
Recitative (, also known by its Italian name "''recitativo''" ()) is a style of delivery (much used in operas, oratorios, and cantatas) in which a singer is allowed to adopt the rhythms and delivery of ordinary speech. Recitative does not repeat lines as formally composed songs do. It resembles sung ordinary speech more than a formal musical composition. Recitative can be distinguished on a continuum from more speech-like to more musically sung, with more sustained melodic lines. The mostly syllabic ''recitativo secco'' ("dry", accompanied only by continuo, typically cello and harpsichord) is at one end of the spectrum, through ''recitativo accompagnato'' (using orchestra), the more melismatic arioso, and finally the full-blown aria or ensemble, where the pulse is entirely governed by the music. Secco recitatives can be more improvisatory and free for the singer, since the accompaniment is so sparse; in contrast, when recitative is accompanied by orchestra, the singer must per ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Conradin Kreutzer
Conradin Kreutzer or Kreuzer (22 November 1780 – 14 December 1849) was a German composer and conductor. His works include the operas ''Das Nachtlager in Granada'' and incidental music to ''Der Verschwender'', both produced in 1834 in Vienna. Biography Born in Meßkirch, Baden, Kreutzer abandoned his studies in the law (University of Freiburg) and went to Vienna about 1804, where he met Joseph Haydn and may have studied with Johann Georg Albrechtsberger, while he tried his hand unsuccessfully at singspielen. He spent 1811–12 in Stuttgart, where at least three of his operas were staged and he was awarded the post of Hofkapellmeister. He was from 1812 to 1816 Kapellmeister to the king of Württemberg. Once he was successful, he became a prolific composer, and wrote a number of operas for the Theater am Kärntnertor, Theater in der Josefstadt and Theater an der Wien Vienna, which have disappeared from the stage. In 1840, he became conductor of the opera at Cologne. His daughte ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Singspiel
A Singspiel (; plural: ; ) is a form of German-language music drama, now regarded as a genre of opera. It is characterized by spoken dialogue, which is alternated with ensembles, songs, ballads, and arias which were often strophic, or folk-like. Singspiel plots are generally comic or romantic in nature, and frequently include elements of magic, fantastical creatures, and comically exaggerated characterizations of good and evil. __TOC__ History Some of the first Singspiele were miracle plays in Germany, where dialogue was interspersed with singing. By the early 17th century, miracle plays had grown profane, the word "Singspiel" is found in print, and secular Singspiele were also being performed, both in translated borrowings or imitations from English and Italian songs and plays, and in original German creations. In the 18th century, some Singspiele were translations of English ballad operas. In 1736, the Prussian ambassador to England commissioned a translation of the ballad op ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dialogue
Dialogue (sometimes spelled dialog in American English) is a written or spoken conversational exchange between two or more people, and a literary and theatrical form that depicts such an exchange. As a philosophical or didactic device, it is chiefly associated in the West with the Socratic dialogue as developed by Plato, but antecedents are also found in other traditions including Indian literature. Etymology The term dialogue stems from the Greek διάλογος (''dialogos'', conversation); its roots are διά (''dia'': through) and λόγος (''logos'': speech, reason). The first extant author who uses the term is Plato, in whose works it is closely associated with the art of dialectic. Latin took over the word as ''dialogus''. As genre Antiquity and the Middle Ages Dialogue as a genre in the Middle East and Asia dates back to ancient works, such as Sumerian disputations preserved in copies from the late third millennium BC, Rigvedic dialogue hymns and the ''Mahab ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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