400 Years Of Opera

The Italian opera and the German opera are two different fields that both share characteristics, some of which are paralleled, and some of which contrast. Specifically, Giuseppe Verdi and Richard Wagner use motifs such as: redemption through love, patriotism, and sacrifice which run throughout both of their operas. The theme of betrayal also seems to be echoed throughout both operas; yet they are each used to project a different response. The significance of this comparison demonstrates that Verdi and Wagner may allude to the same references, such as Victor Hugo, Shakespeare, and Byron, but the operas The Flying Dutchman (German opera) and that of Nabucco (Italian opera) are completely different in context, and musical style; perhaps even

The choice of the “Three women of Don Giovanni” can give a good understanding of the type of music which was used to create an opera in the 18th century Italy. The opera buffa was a comic opera with a funny story line and light music. Mozart wrote at different levels.

Music is my life. Specifically, my vocal specialization is Tenor, which is the highest range a male voice can attain. I perform Classical repertoire written in the languages: English, French, German, Italian, and Spanish. I love singing in various languages, for it significantly enhances my ability to vocalize. Currently, I am only involved in Nevada Chamber Singers, but I will be participating in Nevada Chamber Opera this spring. With respect to my academics, I am a double major in Music and Marketing, and I will pursue getting my master’s degree in Arts Administration.

Director of this play is Marie Allyn King. There are many characters in this opera, but some important characters are Aaron Stepanek (Eisenstein), Alyson Golladay (Rosalinda), Brittany Jereffy (Orlovsky), Rachel Martin (Adele), Chy Billings (Flake) and many other characters are there in this show.

What keeps mankind alive? Answer the question with reference to the actions of characters in The Threepenny Opera. In The Threepenny Opera, Bertolt Brecht, through the writing of the song “Second Threepenny Finale What Keeps Mankind Alive” in Scene Six, gives us the idea that “mankind is kept alive by bestial acts (page 55, line number 18). In my opinion, although the idea to associate human beings with beasts, or more specifically, human behaviour with “bestial acts” looks peculiar, some characters, in their pursuit of desires and wants, do reflect an inhuman nature, which makes them ‘beast-like’.

For some, turning thirty is a big deal. For Opera Atelier turning thirty is an outstanding accomplishment few companies could ever compare or measure up to. Moreover, retrofitting Purcell’s Dido and Aeneas seven times in the companies history is a creative feat unto itself. I first became familiar with Opera Atelier in the 1990’s. A time when it was still considered to be an “indy opera company”. Fortunately, that label has changed and I’ve been able to witness the companies progression. I have attended three of their Dido productions and must admit, this was not my favorite for a number of reasons.

This opera is very short but it embodies, to the core, the driving passion of Verismo. The heart of the Verismo movement was to make listeners

The development and contribution Purcell made to the operatic genre through his opera and dramatic works.

For over thousands of years, Opera has become one of the greatest musical forms. By early 1600’s, Opera has made a major expansion all over Europe. Many singers were very skillful and challenged of any vocal genre. Also, by this time the audience didn’t just come and see actors/actress play theatrical roles, they wanted to hear the sweet sound of the leading voices. Mostly, the high vocal range parts stole the show. Between 1590 to 1900, the Castrati (male sopranos) played the leading roles as the heroines, hero and villains, but it will take decades for women to arise from the religious and political views which caused restriction on all opera houses to ban all women to participate on stage. Like women, soon the rise for the castrate singers will decline and restrictions to participate on stage will come into effect. There are four similarities between both sexes that causes a rise and fall effect in the operatic form.

Listening to this symphonic piece it seems to have many characteristics of a piece from the Classical Period in the Classical Era. I do not believe that this is a piece from the 20/21st Century because doesn't fall into the many subcategories of the music of that period. This piece could not be from the “atonal phase” where the music avoids what is considered a tonal center. It could not be considered to a be a piece from modernism, populism, serialism, experimentalism, minimalism, or post modernism as it is structured and follows many of the characteristics of the Classical Period and Era. Listening to the entire piece I noticed a variety of meter and tempo changes the piece seemed to be fast then slow then fast again. This made a very dramatic feeling as the music would slow then increase tempo

For my concert report, I decided to see an opera show called Diva Viva Verdi! at the First Christian Church of Pomona on Saturday, July 18, 2015. Diva Viva Verdi! is an Italian opera concert that was composed by Giuseppe Verdi. Based on what I watched, the people who I saw performed was a group named the Repertory Opera Company. This company is created by a group of singers and musicians. In this concert, I heard they played different types of play. Basing on their performance, I saw that Diva Viva Verdi! is an opera play that consisted a variety of music from different opera blockbusters.

Because an opera ought to end happily, the “poetical justice” (120) or moral substance is lost completely and the work is reduced to “what the people want.” According to this reading, then, the Player’s remark implies that popular taste favors spectacle over

Eighteenth century Europe was a time of great intellectual change. The “old” scholastic thought began to be changed out with the “new” Descartian “cogito ergo sum.” This shift of intellectual thought did not just restrict itself to the philosophers--it permeated all of western culture. During the beginning of the eighteenth century, European opera began to shift into a new soundscape.

On stage, singers bring the story to life through acting and singing the words along to the music played by the orchestra much in the same way as a musical. What makes an opera different to a musical is that the singers are unamplified by microphones and the orchestra is much larger and plays entirely live. The main characters are sung by 'principals' who are often guest artists who work freelance and perform with different opera companies. The Chorus includes twenty female and twenty males singers who, depending on the opera, either commentate on the main action or on occasion take the story forward themselves. Members of the Chorus will also take some of the smaller roles in certain operas. The Chorus are what makes an opera special, they

When students study to sing Italian bel canto opera, it’s better to use the work which performed by people who is original singer to imitate and practice. However, there are still a series of problems will happen for non-Italian students when they are study singing the opera, for example Semiramide. Bel raggio lusinghier. Even according to the video soundtrack to imitate, the overall effect artistic and performances is not satisfactory. The problems are pronunciation hesitation, slurred speech, unknown the meaning of the text. All of these problems will reduce the bel canto opera artistry.