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Grace, verve and musicality composed barber of Seville(1816) |
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Librettist for Barber of Seville |
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Wrote original Barber of Seville |
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1 of the librettist for Carmen |
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1 of the librettist for Carmen |
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Wrote original novel Carmen is adapted from |
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Wrote and Composed Rhinegold(1869) Was both composer and librettist |
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Wagner’s patron (the person paying for works to be produced) |
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Refers to Rossini’s time or the “bel canto” |
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improvised tradition in Italy that used stock characters, like the wily servant example… Figaro |
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2 part aria, small cabaletta usually used to introduce characters |
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originally a simple Italian aria, Later the concluding brilliant portion in quick tempo of a two-part aria, or the whole piece. |
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elaborate ornamentation of vocal line. A coloratura voice is one that specializes in singing this line, generally in a higher register. |
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Music within an opera as actual music example is opening scene to barber of Seville where he serenades Rosina |
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used to accompany on stage action |
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19th century Italian opera middle of the opera big confusion |
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is an aria sung at a fast rate like Figaro |
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realistic, very controversial, clear morality of right and wrong was lost compared to the human emotion; gritty situations on life |
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When an artist/composer evokes another culture for artistic purpose |
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used for non-white characters; racial |
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a short melody associated with Carmen that runs through the whole opera |
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Wagners personally built theater |
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Musical phrase : indicates a dramatic idea, object, or character |
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Coloratura Mezzoo-soprano |
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Barber of Seville; Operas made quickly specific formula; opened w/ chorus and male viewpoint; diajetic music; Patter song; Midpoint final and melodies no longer improvised but written. |
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No ensembles, chorus, intermissions and had endless melody everything had a purpose |
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No ensembles, chorus, intermissions and had endless melody everything had a purpose |
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Italian word for overture |
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operas with spoken dialogue;song play no recitative |
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