Opera Buffa Genre

710 Words3 Pages
Opera buffas break the stereotype that other operas had set. The plots follow common folk rather than heroes and noblemen. They incorporated comedy as an essential element to the plot and connotation of the opera. At first, intellectuals hated this. They believed it broke tradition and made opera look impractical. As time went on, critics and general audiences began to accept opera buffas. There was a lot more depth to comic operas than some would believe. I aim to look at the opera buffa and how the emergence of this sub genre may or may not have contributed to the opera genre. I specifically look at three different sources to that contribute towards opera buffa; The Culture of Opera Buffa in Mozart’s Vienna: A Poetics Entertainment written by Mary Hunter, Francesco Izzo’s Comedy Between Two Revolutions: Opera Buffa and the Risorgimento, 1831-1848, and finally an article by Caryl Clark titled Reading and Listening: Viennese Frauenzimmer Journals and the Sociocultural Context of Mozartean Opera Buffa. By looking into these three specific sources, audiences can fully understand opera buffas and what kind of ideologies they represent.
Mary Hunter’s book, The Culture of Opera Buffa in Mozart’s Vienna: A Poetics Entertainment, discusses Mozart’s opera buffas that were performed in Vienna from around 1770 to 1790, the height of opera buffas success. Hunter investigates the connection that forms between the different works of opera buffa and the audience. She explores the idea of
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