#Opera Buffa

[raincross]

[opera-ghosts]

From Fun (1879):

ROYALTY Miss Kate Santley begins the season with a new comedy by Palgrave Simpson Little Cinderella The plot of the old story is made to fit to 19th century incidents The Cinderella of the piece named Lottie is admirably played by Miss Santley the next most interesting character is Old Foxglove the gardener Of course Lottie gains the hand of the modern Prince to the discomfiture of her ill natured sisters The piece is followed by Tita in Thibet a comic opera in which Miss Santley sustains the principal character with her usual vivacity and is well supported by C Groves F Leslie and the other members of the company Altogether there is a capital evening's entertainment at this pretty little theatre.

From Musical Standard (1883):

COMIC OPERA AT THE ROYALTY THEATRE Miss Kate Santley opened this pretty theatre on Monday with M Audran's comic opera operetta entitled Gillette adapted from the French by a very clever litterateur Mr H Savile Clarke The story is a very awkward affair in the original if that word may be used when the delicate incidents are con verted from one of Boccaccio's moral tales I have read whole of the Decamerone in choice Italian Mr Clarke however has extracted the poison and left some of honey his libretto might perhaps be smarter and more flavoured with modern wit but it is generally approved as work of an experienced and accomplished dramatic writer The music of M Audran composer of that peculiar piece called La Mascotte must be dismissed as poor trivial and common place An ironical critic predicted a run 100 nights when I accosted him in the lobby on Monday persons in England cherish a notion that musical men care only for something deep and as once said of an erudite critic that they breakfast on a fugue of Bach's take luncheon properly Nuncheon with a Lied ohne worte and appease their hunger at or after dinner with two symphonies and a concerto Silly folks are these to be answered by Solomon according to their folly All good music of whatever kind will command respect and admiration I lately lauded the arrangement at St James's Hall for a provision of elegant overtures and pretty valses during the trying hour of heavy dinners But M Audran in this case only offers an effervescent beverage that tastes sweet to evaporate with a hint at dyspepsia The tunes certainly take the ear but always tell the same old story The scoring for the band would hardly satisfy a disciple of Wagner but here I pause in awe One learned judge with whom I agree pronounces the orchestration to be of an elementary kind Another who writes to the effect that Audran has written invitâ minervá and repeated himself proceeds to say that the airs are set off orchestration such as in the amateur's opinion make up for many shortcomings elsewhere Most of the choruses are unison and the two part writing would be torn to pieces at the Royal Academy if presented in the form of exercises finale of Act II a soldier's chorus is thought to be the best specimen of the music Les Pommes d Or and Mr Slaughter contributes a capital chorus in Act III The air of Tarantelle danced in rather original style by Miss A Wilson is ascribed to Mr Hamilton Clarke The principal parts of operetta are allotted to Miss Kate Santley Miss Kate Monroe Mr Walter Browne and F Kaye Miss M Taylor and Mr WJ Hill A dreadful and most unmeaning bore a ChiefPolice is cruelly thrust upon the audience His nonsensical talk about the majesty of the law reminds me of the old parish beadle at the Surrey Theatre under the Davidge dynasty who in April 1841 ranted about offences against the authorities The verdict of the audience on this operetta can hardly be called a favourable one but this is not the fault of Mr Savile Clarke.

From THE ACADEMY. A WEEKLY REVIEW OF LITERATURE, SCIENCE, AND ART. (1877):

A TRIFLING dramatic piece brought out at the Royalty on Saturday night and ominously though politely described by a Sunday contemporary as of judicious brevity is from the pen of Mr Alfred Thompson and is the vehicle for the exhi bition in various guises of Miss Kate Santley The Three Conspirators are only one in reality and his plot is not of a very appalling character It is matter of tradition that some of those most closely connected with the stage from Macready downwards have been the least willing to let their young relations have any asso ciations with it A principal personage in The Three Conspirators is not a Macready at all but an agent and organiser of opéra bouffe possessed of the like ideas His niece would find it im possible to adopt the profession of the theatre did she not with the aiding and abetting of his office clerk assume disguises and so win upon him as a dramatic aspirant of much promise Mr JD Stoyle Mr Beyer and Miss Kate Santley are the performers engaged in this trifle and each does his part well so that none of what little fun and liveliness there are in the piece may be lost and when the curtain falls it is felt that the brevity is beyond denial whether or no it be judicious LADY SEBRIGHT and Mrs Monckton two amateur actresses of note in large private circles appear to day at an amateur performance at the Opéra Comique Theatre.

From The Dart and Midland Figaro (1887):

THEATRE ROYAL The reception accorded Miss Kate Santley when she made her ap pearance on Monday night at this house in Farnie and Audran's comic opera Indiana must have convinced that talented lady of the very favourable regard in which she is held by Birmingham playgoers and helped her to contemplate with equanimity possible prospective adverse criticism There was a capital house and the opera from the com mencement to the finish appeared to give lively satisfaction The plot if not entirely original is at least intelligible the music is tuneful and catchy the dresses rich and tasteful the scenery appropriate and the chorus sprightly and fair to look upon Miss Kate Santley as Indiana Grayfaunt is the life of the piece The part fits her like a glove and her excellent voice stands her in good stead Mr Ashley's Mat o the Mill a not such a fool as he looks sort of individual is a perfect study The other characters are in good hands A feature in the production is the introduction of several grace ful dances in which Miss Alice Lethbridge is seen at her best Next week HB Conway and the English Comedy Company.

From St. Stephen's Review (1886):

Miss Kate Santley whose name is already indissolubly associated with the palmy days of opera bouffe and whose production of the Merry Duchess at the Royalty was one of the successes of the season is about to make a new departure in comic opera The suffrages of provincial audiences are to be asked for Vetah work of which the principal action takes place in India In addition to a corps de ballet which will lend a vivid oriental colour to the second act in A Dream of Fair Women several well known artistes have been engaged including Mr Henry Ashley Miss Edith Bland Mr Robert Courtnedge and Mr L Rignold The dresses are said to be magnificent and Mr Charles Douglas a gentlemen who is himself a traveller of some experience in the East will manage the front of the show At Christmas we may look forward to welcoming back Miss Santley to the merry little house in Dean Street when Vetah will be snbmitted to Metropolitan audiences.

[ppiotrr]

La Finta Semplice

LA FINTA SEMPLICE

UDANA NAIWNOŚĆ

Udana naiwność - La Finta Semplice - Poradnik po operze na Moje Quo Vadis "Udana naiwność" oznaczona w katalogu Opera Wolfganga Amadeusza Mozarta KV 51 (46a) to trzyaktowa opera buffa, której libretto stworzył Marco Coltellini. Utwór powstał na zamówienie cesarza Józefa II w 1768 roku. Libretto jest oparte na wcześniejszym tekście autorstwa Carlo Goldoniego. Premiera miała miejsce 1 maja 1769 r. w Salzburgu. Udana naiwność - przewodnik po operze Postaw mi kawę na buycoffee.to autopromocja La finta semplice - wprowadzenie Fabuła opery rozgrywa się w fikcyjnej wiosce toskańskiej i przedstawia romantyczne perypetie dwóch par kochanków, którymi zręcznie manipuluje sprytna służąca Ninetta. Dzięki serii komicznych nieporozumień oraz pomyłek tożsamości, Mozart w mistrzowski sposób łączy elementy farsy z sentymentalizmem, kreując zniuansowany obraz relacji międzyludzkich.   Wolfgang Amadeus Mozart, jeden z najwybitniejszych kompozytorów w historii muzyki, zrewolucjonizował wiele gatunków muzycznych, w tym operę. Jego dzieła wciąż fascynują zarówno krytyków, jak i miłośników sztuki na całym świecie, a jednym z najwcześniejszych i najbardziej interesujących przykładów jego talentu jest "La finta semplice". Ta opera, skomponowana w czasach, gdy Mozart miał zaledwie dwanaście lat, stanowi niezwykle ważny krok w jego wczesnej karierze i ukazuje złożoność jego uzdolnień kompozytorskich.    Warto przyjrzeć się genezie powstania "La finta semplice", ponieważ odzwierciedla ona nie tylko młodzieńczy zapał Mozarta, ale także realia epoki, w której żył. Kiedy Mozart był dzieckiem, jego rodzina podróżowała po Europie, dając koncerty i odwiedzając różne dwory. Te doświadczenia miały ogromny wpływ na rozwój jego stylu. Po przyjęciu zamówienia na operę od wiedeńskiego teatru dworskiego w 1768 roku, młody kompozytor miał szansę na stworzenie dzieła, które mogłoby dotrzeć do szerokiego grona odbiorców. Niestety, polityczne intrygi oraz zazdrość rywalizujących kompozytorów w tamtym czasie spowodowały, że premiera opery została odwołana. To z pewnością musiało być dla niego niełatwe do zniesienia, ale młody geniusz nie poddał się; "La finta semplice" miała swoją premierę ostatecznie w 1769 roku w Salzburgu, co można traktować jako jego debiut operowy. Udana Naiwność - cała opera Opera Wolfganga Amadeusza Mozarta - kv 51 Tematyka opery wprowadza nas w świat, gdzie miłość i oszustwo splatają się w zabawnym, a jednocześnie refleksyjnym dialogu. Akcja rozgrywa się w małej toskańskiej wiosce, w której sprytna służąca Ninetta manipuluje losami dwóch par kochanków, tworząc sytuacje pełne komicznych nieporozumień. Ta motywacja pokazuje, jak bardzo ludzkie uczucia mogą być skomplikowane, a jednocześnie wprowadza w atmosferę błahości i zabawy. Mozart umiejętnie łączy elementy farsy z głębszymi refleksjami na temat natury miłości oraz relacji międzyludzkich. Kiedy słuchamy muzyki, czujemy euforię, smutek, a nawet bezradność postaci, co czyni tę operę nie tylko zabawną, ale także poruszającą.     W musicalowych strukturach "La finta semplice", Mozart zademonstrował już w młodym wieku swoje niezwykłe umiejętności kompozytorskie i talent do kreowania emocjonujących numerów. W operze pojawiają się liryczne arie, w których postacie wyrażają swoje uczucia oraz zawirowania dramatyczne, a także złożone fragmenty zespołowe, które tworzą bogaty i wielowarstwowy dźwięk. To właśnie te sekcje pokazują, jak dobrze Mozart radził sobie nie tylko z melodią, ale także z harmonią i rytmem, co jest niezbędne w operowej formie.   Pomimo że opera Wolfganga Amadeusza Mozarta "La finta semplice" KV 51 nie zdobyła początkowego uznania, z biegiem lat opera zyskała na popularności, co potwierdzają różne wznowienia i adaptacje. Owocowało to nie tylko zwiększeniem jej obecności w repertuarach teatrów operowych, ale także inspiracją dla kolejnych pokoleń kompozytorów oraz artystów. Z czasem słuchacze zaczęli dostrzegać nie tylko wartość muzyczną dzieła, ale także jego długofalowe znaczenie w kontekście rozwoju opery jako formy sztuki. Krytycy chwalili operę za jej intrygujące harmonie oraz umiejętność operowania pejoratywnymi elementami w sposób lekki i przystępny. Kiedy analizujemy konkretne fragmenty muzyczne, widzimy, jak Mozart posługiwał się różnych technikami kompozytorskimi, grając ze swoimi słuchaczami na emocjach. Jego zdolność do tworzenia melodii, które pozostają w pamięci, a jednocześnie do połączenia ich w skomplikowane struktury, stawia go w czołówce kompozytorów swojej epoki.   Opera "La finta semplice" KV 51 tworzy wyjątkową okazję do analizy rozwoju artystycznego Mozarta. Muzyczne idee, które pojawiają się w tym dziele, zapowiadają późniejsze triumfy kompozytora. Widzimy jak z jednej strony młodzieńcza erudycja i brawura, a z drugiej dojrzałe pojmowanie struktury muzycznej i dramatycznej, łączy się w genialny sposób, tworząc unikalny styl, który stał się jego znakiem rozpoznawczym.    Nie tylko sama muzyka, ale również libretto opery zasługuje na uwagę. Współpraca Mozarta z tekstami Davida Poppera skutkowała powstaniem zaskakujących dialogów i zabawnych sytuacji, które bawią publiczność od pokoleń. Jego umiejętność ukazywania emocji i interakcji w niezwykle trafny sposób sprawia, że widzowie mogą się zidentyfikować z bohaterami, co wzmaga ich zaangażowanie w fabułę.   La finta semplice pozostaje do dzisiaj interesującym tematem dla badaczy i muzyków, którzy starają się zrozumieć, jak dziecięcy talent Mozarta przekształcił się w opanowane muzyczne kunszt w jego dojrzałej twórczości. Z jednej strony można dostrzegać pewne niedociągnięcia wynikające z młodej formacji artysty, ale z drugiej, jego geniusz wyraźnie przebija się w spójności i emocjonalnej głębi całej opery.   Podczas gdy współczesny świat nadal czerpie z bogatego dorobku Mozarta, "La finta semplice" KV 51 pozostaje dziełem, które można interpretować na wiele sposobów. Publiczność nieprzerwanie odnajduje w niej nową energię i świeżość, co pokazuje, że jego talent był naprawdę ponadczasowy. Każde przedstawienie tej opery wprowadza nowe pokolenia widzów w świat wyrafinowanej muzyki, który mimo upływu lat, nie traci na atrakcyjności.    W konsekwencji "La finta semplice" jest nie tylko świadectwem talentu młodego Mozarta, ale także kluczem do zrozumienia jego późniejszej twórczości. Ta wczesna opera stanowi pomost między wczesnym, a dojrzałym okresem jego kariery, ujawniając, w jaki sposób wrodzony talent i ciężka praca doprowadziły do stworzenia nieśmiertelnych dzieł, które wciąż poruszają serca i umysły ludzi na całym świecie. Dziś, mając w pamięci krąg jego twórczości, "La finta semplice" pozostaje niezwykłym przykładem bogactwa muzycznego dziedzictwa Mozarta, będąc jednocześnie świadectwem jego geniuszu w pełnej okazałości.

Jestem PpiotrR serdecznie dziękuję, ze doczytałaś, doczytałeś ten wpis aż do tego miejsca ❤️

i chciałbym zaprosić cię

do lektury Pozostałych miejsc

Na tej stronie

o mnie

Być jak Zawisza, Zadania wykonywać bez zbędnej zwłoki, Szanować czas, używać głowy i serca...Przez ostatnie 8 lat (prawie 8 lat), byłem razem z demokratami by przyczyniać się do normalności w naszym kraju). Dziś kiedy Polska staje się znów częścią europejskiej rodziny państw demokratycznych, mogę powrócić do tego co kocham najbardziej czyli swoich muzycznych Pasji. By wreszcie móc pogłębiać swoją wiedzę o muzyce i dzielić się nią... >> INNE STRONY Read the full article

[pier-carlo-universe]

Alessandria: Successo per il Pomeriggio Dedicato all’Opera Buffa al Museo della Gambarina

Melodramma, storia del teatro e grandi autori del Settecento e Ottocento protagonisti dell’evento musicale con il Conservatorio Vivaldi di Alessandria.

Melodramma, storia del teatro e grandi autori del Settecento e Ottocento protagonisti dell’evento musicale con il Conservatorio Vivaldi di Alessandria. Il 21 ottobre 2024, il Museo della Gambarina di Alessandria ha ospitato un evento speciale, dedicato alla tradizione dell’opera buffa, un genere che ha segnato la storia musicale italiana tra il Settecento e l’Ottocento. Sotto la guida della…

[daughterofevilmusical]

posting this here as well

[andagon]

Hey there! I know you're the bard of Hell, right? Wanted to submit this

https://youtu.be/mqefo_41mvE?feature=shared

I know you all technically speak all lenguages but just in case here are the lyrics in english too!

https://lyricstranslate.com/en/la-genesi-genesis.html

Thank you for your submission, anon. God making Lucifer work, that was the plan form the beginning, ha!

It was Friday 13th, of Paradise Year zero: creation of man.

[tookishcombeferre]

Phantom of the Opera: How Much Did Opera Actually Influence Erik's Understanding of the World?

So, I love monster lit. A lot of folks know this if you've been following the blog.

I'm also a huge fan of opera. Like literal opera.

And, operas are really interesting because they're kind of, stylistically, marked by a couple of different things - style, forms, and whether they're tragic or comedic. However, you don't often get like ... blends? You can. Kinda. But, generally, like Shakespearean tragedies or comedies everyone's either gonna end up dead or married.

And, that made me think about Erik.

We have no darn clue how old he was per Leroux's timeline (because he was a prodigy and a genius) when he ended up under the opera house.

So, how many social experiences did Erik really have?

How much of his entire social world was filtered through the tragedy and comedy of opera?

Part of the reason I say this is because if you look at his relationship with The Persian it takes on flares of the sort of combative nature of operetic friendship. They fight. There's drama. They're rivals. Then, they're buddies. There's no stability. It's all drama, mostly put there by Erik.

But, again. That's what he knows! It's all he knows.

Even his relationship with Christine fascinates me.

If you look at his dialogue, he wants a friend.

He wants someone to hold his arm and take walks with him because he doesn't want to be alone. He wants someone to end his solitude. He wants to keep coaching her in music. He wants her to be the prima donna of the opera.

That's all he *really* says he wants.

Yet, he says he wants to marry her.

Why?

In comedic operas, everyone gets married in the end. That's how the happily ever after *works.* It doesn't matter if that's not what he actually wants, or if that's what she wants. It only matters that that's how the plot of the opera is supposed to work. In order to have stability, in order for the tragedy to stop, the marriage has to happen.

Erik fundamentally lacks the language of friendship.

He doesn't understand what it looks like, what it's supposed to feel like, what living is like, because he has no lived experiences of his own to draw from.

So, instead, he draws from the beautiful lyrical poetry of opera. He draws from what he knows and loves most to understand the world around him because it's all he HAS.

He uses the word "wife" because it's the only word he has to understand the complex intimate feelings he has for "best friend." He uses the word "wife" because marriage is the "fix-it" in almost all operatic comedies across all forms of comedy operas whether it's a Buffa (Think Barber of Seville) or Comique (This is probably what Webber was referencing with opera the chandelier crashes in although it could also have been an Operetta, as that incorporates dance, or perhaps it may have been a form of Grand Opera set in the current period, though that is less likely. It was likely a Comique because those were often about relatable characters in the current French culture of the 19th century. But, I'm getting in the weeds.)

Anyway, as soon as the world is brought to Erik, as soon as Christine recognizes his humanity, he is able to understand it.

One of my favorite, and perhaps the most important details in the Leroux text, is that Christine kisses Erik's *forehead.* She does not kiss his lips at any point in the story that I can remember?

In fact, Leroux seems to very intentionally make Erik and Christine's relationship quite asexual in nature. I never really noticed that as a young person, but I *did* very much notice it when I re-read the story as an adult. It's something I appreciate a lot about what Leroux seems to be doing and his commentary on human beings in general.

However, as soon as Christine recognizes Erik as a person, as soon as she kisses his forehead, he lets her go. He no longer wishes to marry her. It's like something is released in him, and he lets everyone he has been holding captive go. He no longer threatens to blow up the opera house and himself and everyone with it.

Christine and Raoul (who were childhood besties) run off together, and Erik dies of a broken heart.

But, if you look at his dialogue carefully, I don't think he dies because he wanted Christine romantically and didn't get to marry her. Instead, he compares her tears mingling with his to that of an angel's tears, and he goes on to talk about his *mother.* He talks about how his own mother never touched his face or kissed him. Yet, this girl looked at him, touched his face, and didn't die.

He fully expected anyone who kissed his face to die.

Yet, this perfect and pure angelic girl did not die when she kissed his forehead.

The way Erik talks in this is oddly paternal?

It's very different than the way he has spoken in past chapters of the novel.

In recognizing Erik's humanity, in bringing the world outside of operatic comedies or tragedies, Christine helped Erik make *sense* of the world, his feelings, and emotions. Marrying this girl is never what Erik really wanted.

He wanted a companion. He wanted a best friend. He wanted someone to walk with him when the world was too frightening after all the abandonment he had experienced.

And, his heart is broken knowing that he will never get to have that. He lost it in his own madness.

And, in that way, Leroux is right. We should pity Erik because if he had only been born a "normal" man he would have been a genius. But, things being what they were, he ended up lonely, confused, and broken hearted.

And, I would *love* to see an actor play Webber's Phantom in this way. Start him HUGE as though the only way he knows how to behave is in grandeur and, as the show progresses, make him more intimate. Take the energy from a 6 when we first meet him, up to a 10+ as Red Death, but then afterwards? Back down.

As he's losing it, he's softer. He's smaller. He's more intimate in his fury. He's scared.

So, at the very end, all is quiet. That final "Christine, I love you." And, he finally understands what that really means to him. So, it's just lightly sung. That exchange of rings is more pleasant. Nods are cordial. Maybe even a little hand clasp. There's understanding. It's soft. So, soft.

Even that last "It's over now, the music of the night?" So, stealthy. Don't belt. Just ... light. So light.

Like he's talking to himself and calling himself "Poor unhappy Erik."

As an autistic transmasc-nonbinary contralto. I would love to play this role. I can hit the notes enough to "pants" it in the original key too. I know. I've practiced.

So, anyway, thank you for coming to my TED-talk about why I think opera influenced Erik's understanding of relationship and how human kindness helped him to understand what he actually wanted for his real life.

[clouds-of-wings]

Something really interesting about opera is that it's a genre of story-telling where most of the famous works are 100-500 years old and - I would nearly say the majority of the works I have seen in it so far have the plot "a woman is about to be married off against her will, which is obviously a travesty and she should marry whomever she wants." Even in the Ring Cycle (which is mainly about other stuff) it is a huge and recurring plot point how absolutely vile it is to force a woman into an unwanted marriage, and in Italian opera buffa it's (it seems!) the plot of nearly every opera.

It's just interesting how nowadays the impression people have of the past is that marriage was universally seen as an economic arrangement between fathers that the bride had no say in. Yet these aren't niche, revolutionary works, they're popular entertainment, the equivalent of a rom-com on evening TV. Never once is the moral of the story that a woman should just suck it up and accept her fate. Either love triumphs or the ending is portrayed as tragedy. Sure, romance stories are wishful fantasies, they don't necessarily reflect the most common practice, but that's just as true today. The point is that the moral that was palatable to the public was one that is romantic and idealistic even by today's standard. The law may have been different, but the audience of these operas wanted true love to win just as much as today.

[literaryvein-reblogs]

Writing Notes: The Classical Period

The Classical Period of music - an era that lasted from approximately 1730 to 1820, although variations on it extended well into the middle of the 19th century.

Classical period composers and performers came from Europe, but it did not take long for the music to find its way to European colonies around the globe.

Many composers and musicians were based in the Austrian capital of Vienna, which was the musical center of Europe during the time period.

Musicologists and casual music fans use the general term "classical music" to describe the work of composers ranging from J.S. Bach to Igor Stravinsky to Philip Glass. The Classical period, though, is a specific era in music history that spanned much of the 18th and 19th centuries.

Characteristics of Classical Period Music

Important forms of the Classical period include the string quartet, opera (including opera buffa and opera seria), trio sonata, symphony (traditionally written in sonata form), string quartet, and solo concertos for a variety of instruments. These musical forms have several elements in common.

Simplicity: Compared to the Baroque period music that preceded it, Classical period music places greater emphasis on simplicity, tonal harmony, single-line melodies, and enlarged ensembles. Unlike the extravagant melodies and ornamentations of high Baroque music, the new style of music framed somewhat simple melodies and buttressed them with large ensembles. Melodies could be appropriated from folk music and arranged to produce musical development with various modulations in tonality, tempo, and dynamics. This trend would only expand during the Romantic period, which followed the Classical era.

Classicism: The beginning and middle of the eighteenth century showed a surge in a stylistic movement known as Classicism, whose adherents revered Classical antiquity, including the works of early fifth-century Greek artists and the architecture of Classical Greece. Admiration for the art of Classical antiquity manifested in the musical taste of the eighteenth-century Classical era. The standard musical forms that dominated the musical compositions of the Classical period aimed to embrace order, simplicity, strength, and a celebration of humanity—all of which aligned with a reverence for Classical Greece.

Increased accessibility: During the Classical period, many composers still worked in the courts of aristocrats, but public concerts were commonplace throughout Europe, which allowed members of the middle classes to partake in the musical forms. This made Classical era music somewhat more egalitarian than much of Baroque music, which was often presented as chamber music exclusively for upper-class audiences.

Instruments of the Classical Period

During the Classical period in music history, the piano overtook the harpsichord and organ as the primary keyboard instrument. Other musical instruments prominently featured in the new musical style included:

violin

viola

cello

double bass

flute

clarinet

oboe

bassoon

French horn

trumpet

trombone

timpani

Composers of the Classical Period

Vienna was the epicenter of European Classical music, and the composers who worked out of Vienna were sometimes referred to as members of the Viennese school.

Great composers of the Viennese school included Wolfgang Amadeus Mozart, Franz Joseph Haydn, Franz Schubert, and Ludwig van Beethoven, all of whom are foundational to the Classical period of music (although Beethoven's later works are commonly linked to the Romantic era).

Other famous composers of the period included Johann Christian Bach, Carl Philipp Emmanuel Bach, Christoph Willibald Gluck, Antonio Salieri, and Muzio Clementi.

Classical era music followed the late Baroque period of music.

It maintained many styles of the Baroque tradition but placed new emphasis on elegance and simplicity (as opposed to Baroque music’s grandiosity and complexity) in both choral music and instrumental music.

It was followed by the Romantic period.

Source ⚜ More: Notes & References ⚜ Writing Resources PDFs

[mozartbachtoven]

MOZART'S UNFINISHED OPERAS

1/ LO SPOSO DELUSO

( " Lo sposo deluso, ossia la rivalita di tre donne per un solo amante " / " The deluded bridegroom " / " The Rivairy of three women for one lover " )

- two - acts opera buffa

- K 430 ( 1783/84 )

* The opera was never completed and only a 20 min. fragment from act 1 exists.

https://youtu.be/aHPvw8tsWPY

2/ L'OCA DEL CAIRO

( " L'oca del Cairo " / " " The Cairo Goose " )

- opera buffa in three acts

- K 422 ( 1783 )

* Mozart composed seven of the ten numbers of the first act, plus recitative as well a sketch of the finale ( lost ); the extant music amounts to about 45 minutes.

https://youtu.be/Oc2UxedEFhw

3/ ZAIDE

( " Das Serail " )

- K 344 ( 1780 )

* Only the arias and ensembles from the first two acts were composed.

Missing are an overture and third act.

https://youtu.be/HZkl-07vhbo

Thank you Lisa Mirren FB @Wolfgang Amadeus Mozart Group

[opera-ghosts]

With this antique postcard from 1909 I wish you a good Sunday. This was from a serie of cards that remember to Opera witch are premiered in Milano. Here we have Gaetano Donizetti with his great success “L’elisir d’amore” first performance was May 12. 1832 at the Teatro alla Canobbiana Milano.

[evillious-renders]

Do you have any Kyle Marlon renders?

Yes!! I have one here and here, and made another one since I noticed I haven’t done that many!

3/4 slightly obscured body render of Kyle Marlon from The Servant of Evil ~Opera Buffa!~

[pier-carlo-universe]

Un Pomeriggio con l'Opera Buffa al Museo Gambarina di AlessandriaIl 20 ottobre, musica, storia e bel canto per riscoprire la tradizione dell’opera comica italiana

Domenica 20 ottobre 2024, il Museo C'era una volta, noto come Museo della Gambarina, ad Alessandria, ospiterà un evento dedicato alla tradizione dell'opera buffa, con un pomeriggio musicale intitolato Parlando… Scherzando… Cantando.

Domenica 20 ottobre 2024, il Museo C’era una volta, noto come Museo della Gambarina, ad Alessandria, ospiterà un evento dedicato alla tradizione dell’opera buffa, con un pomeriggio musicale intitolato Parlando… Scherzando… Cantando. L’evento, con ingresso libero e inizio alle ore 17:00, offrirà agli spettatori un viaggio tra celebri arie e duetti dell’opera comica italiana, con un repertorio che…

[cottonraincoat]

a non-exhaustive chronology of Mozart, Salieri, et al. 1780-1786

while writing the first draft of the fic, I'd been working on a chronology of... basically both their entire lives, from 1750 when Salieri was born to 1825 when he died. I will most likely rework/expand on it during second draft, but I quite like this particular section (the handful of years that the fic is set in) as it is.

here's to hoping some of you might find this interesting or useful! I know I was constantly referring to this while writing.

-----

1780

[?] Salieri returns to Vienna after an extended Italian tour

31 Oct Aloysia Weber marries Joseph Lange, an actor & amateur painter

5 Nov Mozart leaves Salzburg (unknowingly for good)

1781

29 Jan Premiere of Idomeneo, an Italian-text opera seria, in Munich

16 Mar Mozart travels to Vienna accompanying Colloredo, tries to resign, is dismissed 3 months later via a kick in the arse. 

30 Apr Premiere of Salieri’s Der Rauchfangkehrer (the Chimney Sweep)

25 Jul Mozart (in a letter) complains of gossip about him and Costanze

29 Jul Mozart receives the libretto for Seraglio from Stephanie

15 Dec Mozart (in a letter) complains of Salieri being chosen as teacher for Princess of Würtenberg, and announces his intention to marry Constanze

[?] Da Ponte arrives in Vienna with a letter of introduction for Salieri.

1782

16 Jul Premiere of the singspiel Die Entfuhrung aus dem Serail, with German text by Gottlieb Stephanie, Cavalieri as Konstanze

4 Aug Mozart (26) married Constanze Weber (20)

[?] Aloysia moves to the Burgtheater. This employment lasted only eight months before it was dissolved over pay disputes etc. 

1783

[?] Da Ponte is employed as poet for the Burgtheater, and meets Mozart (at a party given by Mozart’s landlord)

22 Apr The Italian opera company reopens with Salieri’s La scuola de' gelosi and the new opera buffa troupe from Italy.

Jul-Nov Mozart and Constanze (finally) visit Salzburg. Their first son is born in June, and dies in August.

1784

Immanuel Kant publishes What is Enlightenment

29 Mar Nancy Storace (18) marries John Abraham Fisher (40), who is said to have abused her and is later ordered by Joseph II to leave Vienna.

26 Apr Premiere of Salieri’s Les Danaïdes in Paris

27 Apr La Folle Journée, ou Le Mariage de Figaro was first performed, three years after the play was accepted for production 

23 Aug Nannerl marries and moves to St. Gilgen

21 Sep Karl Thomas Mozart born

6 Dec Premiere of Salieri and Da Ponte’s Il ricco d’un giorno, a failure. 

14 Dec Mozart becomes a Freemason

1785

30 Jan Nancy Storace’s child is born (dies in July)

Feb-May Leopold visits Constanze and Mozart in Vienna and becomes a Freemason due to his son’s influence. 

(14 Feb Leopold arrives and dines at the Webers. “The meal was cooked to perfection,” he says in a letter)

1 June Nancy Storace’s voice fails at his brother’s Gli sposi malcontenti.

[?] Per la ricuperata salute di Ofelia by Salieri, Mozart, Cornetti, with text by Da Ponte

12 Oct Premiere of Salieri’s La grotta di Trofonio, with Storace as Ofelia

1786

7 Feb Der Schauspieldirektor (libretto by Stephanie) and Prima la musica e poi le parole (libretto by Casti) are performed at Joseph II’s banquet

28 Apr Figaro began first stage rehearsals. The Overture was probably not finished until the 29th

1 May Premiere of Le nozze di Figaro, Italian libretto by Da Ponte

17 Nov Premiere of Martín y Soler’s Una cosa rara, text by Da Ponte. It’s a massive success, to be given 78 times. 

Nov/Dec Premiere of Salieri’s Les Horaces in Paris, a comparative failure

[daughterofevilmusical]

does anyone know where you can read opera buffa online fank yew

[amadea-nachtmusik]

On a 14th of January 1775:

"Thank God! My opera was given as the 13th performance yesterday; and was so well received, Mama, that I can hardly describe the deafening applause. First the theater was so bursting that many people had to be sent away. After every aria, there was a thunderous roar with applause and cries of viva Maestro." <3

MOZART - Letter to his mother, after the success of the Munich premiere of the opera buffa "La finta giardiniera" in the Redoutenhaus, Friday 13 January 1775.

W.A. MOZART - La finta giardiniera (dramma giocoso in tre atti), K.196

Painting: Jean-Frédéric Schall (1752-1825) - Gardener in straw hat