Wednesday, April 29, 2009

80's Aeorobics Instructor



  • History of Opera
  • birth of opera
    • Opera was born in Italy
  • in Florence
    • seventeenth century. Among the ancestors of the opera include
  • Italian madrigals, which began in music situations with dialogues, but showmanship. The
    • masquerades, the court ballets
  • the intermezzi
    • and other performances of Renaissance court of
  • , involving extras, music and dance are all precursors. The opera itself originates from a group of musicians and intellectuals Florentine humanists who had given the name of Camerata ("living room" in Italian
    • ). Camerata, also called Florentine Camerata or Camerata de 'Bardi, named after its main sponsor, had set two main objectives: to revive the musical style of ancient Greek theater
  • and oppose contrapuntal style of
    • music of the Renaissance. In particular, they wanted the composers dedicated to making music reflects simply and word for word, the meaning of texts. Camerata believed it back in the characteristics of ancient Greek music. To achieve this goal, we use the monody accompanied by basso continuo, the
  • madrigalesque choirs and instrumental tunes and dances. On February 1, 1598, Jacopo Peri
  • wrote Dafne, which was then considered the first opera.
  • Italian opera Monteverdi

    • The first great composer of operas was the Italian Claudio
    Monteverdi
    . His operas (L'Orfeo
    , 1607; The Return of Ulysses, 1640;
    The Coronation of Poppea
    , 1642) applied the basics of opera, as defined by the Camerata. The opera quickly spread throughout Italy. The main center of opera in Italy in the mid to late seventeenth century
    was Venice. The main Roman composers were Stefano Landi

    and Luigi Rossi . The main Venetian composers of that era were Monteverdi, Francesco Cavalli (1602-1676) and Antonio Cesti (1623-1669). In a coterie Florentine at the end of the sixteenth century few artists gathered around the patron Giovanni Bardi, in reaction against the excesses of polyphony the Renaissance , wanted to return to opera performances , imagined as being designed for the ancient classical Greco-Roman, with music that would highlight the text, not to make it incomprehensible complexity of the architecture of sound accompaniment. If Claudio Monteverdi is not the first composer
    translate this program (The first opera, Dafne, was attributed to Jacopo Peri in 1597 to Count Bardi), it was he who brought the opera from its beginnings to a state of perfection that aroused the emulation of other musicians and favor public. The formula quickly spread throughout the Italian peninsula
    , and we witnessed the creation of reputable local schools, for example
    Venice (
    Legrenzi,
    Caldara, Lotti

    , Vivaldi, etc.). and Naples ( A. Scarlatti, Nicola Porpora
    , Vinci, Leo Jommelli etc..). The genus was adopted by the German musicians who stayed in Italy, while competing with the Italians themselves ( Handel, Hasse ) and then imported into other countries in Europe, with the notable exception of France. Indeed, the development of
    bel canto ("beautiful singing" in Italian ) The Italian quickly replaced the desire for simplification and purification of the song which had presided over the creation of the genre. Hundreds of compounds by using the same books drawn from mythology, history or ancient epics, Italian operas of this time chained or almost melodic recitatives and da capo arias spoken allowing castrati and prima donnas to demonstrate their virtuosity. The gender split in opera buffa and opera seria, the most sought librettist Metastasio was . The nineteenth century Italian In
    nineteenth century, Italian opera continued to give pride of place to the voice. Gioacchino Rossini composed the opera-buffa as The Barber of Seville (1816) and La Cenerentola (1817), which overshadowed his works more dramatic, as William Tell (1829). The bel canto style, characterized by the air flowing, expressive and often spectacular, also flourished in the works of Vincenzo Bellini which Norma (1831), La Sonnambula (1831) and I Puritani (1835), as well as in the operas of Gaetano Donizetti , Lucia di Lammermoor (1835), or in his comedies The Elixir of Love (1832) and Don Pasquale (1843). It must also talk about Domenico Cimarosa (1749-1801) who wrote The Marriage secret. Verdi Giuseppe Verdi .

    The man who personified the Italian opera is Giuseppe Verdi undoubtedly : he has given his works a dramatic force and unparalleled rhythmic vitality. He composed many operas, including
    : immediate success. But it was not until 1671

    to see the first opera truly "French" Pomona of
    Robert Cambert

    The classical age Lyric tragedy. the early eighteenth century , Neapolitan style established in virtually all of Europe except France where the composer Jean-Baptiste Lully , musician Louis XIV , founded a French school opera. His compositions reflected the splendor of the court of Versailles . The ballet
    had a much more important in opera French Lully's operas in Italian. Lully also created a type of
    opening, the French overture
    .

    Alceste (1674), Atys (1676), Roland (1685), Armida (1686), Acis and Galatea (1686) are his masterpieces. Jean-Philippe Rameau's Hippolyte et with Aricia (1733), Castor and Pollux (1737) and Dardanus (1739), The gallant Indies (1735), and The Boréades (1764); Marc-Antoine Charpentier with
    Medea
    (1693) and David and Jonathan (1684);
    André Campra with Achilles and Deidamia (1735), in turn, enriched the heritage of Lully.

    French Romanticism During the nineteenth century the romance flourished in France in Germany and Italy , and won the opera. Paris was then the home of "grand opera, combining entertainment with great effects, actions, ballet and music. Most of the operas in this style were written by composers foreigners living in France: The Vestal (1807) of and Lodoiska Gaspare Spontini (1791) by Luigi Cherubini , both Italians and Masaniello or La Muette de Portici (1828), of Daniel François-Esprit Auber (1782-1871). This style reached its apogee in the works of river
    composer Giacomo Meyerbeer as Robert le Diable (1831) and Les Huguenots (1836). Faust (1859), Charles Gounod of , was one of the most popular French operas of the mid-nineteenth century and is always very now on view at the twenty-first century . The late nineteenth century French composer

    The French most productive of the latter part of nineteenth century was
    (1875). German opera Italian) at the age of 14 years,

    1770, for an order Milan. It was Mitridate, re di Ponto (Mithridates, King of Pontus
    ) after a tragedy of Racine
    . In the 1780s , the Emperor of Austria would create a national genre in which the operas are sung in German of course. It is within this context that the compound was Singspiel Die Entführung aus dem Serail (The Abduction from the Seraglio). Nevertheless, the emperor took no action at its whim, and German opera had to wait Wagner to make a name.
    Mozart composed at the end of his life five of his most performed operas. The first three (Le nozze di Figaro Prague. In 1791 ) is today considered one of the best opera seria ever written. The second, The Magic Flute

    was filmed by Ingmar Bergman . This is his last opera libretto Schikaneder, an organizer of shows so heavily indebted that lives in the Magic Flute opportunity to rebuild their financial strength. The Magic Flute contains one of the most challenging arias from the opera to the art and shrill that it requires an air played by the Queen of Night Der Hölle Rache entitled kocht in meinem Herzen (Hell ' terrible burns my heart). The nineteenth century German
    Giacomo Meyerbeer and Grand Opera. The first great German opera of the nineteenth century is
    Fidelio (1805) of Ludwig van Beethoven . Carl Maria von Weber's romantic opera composed German Der Freischütz (1821) and operas equally incredible Euryanthe (1823) and Oberon (1826). German opera reached one of its summits with Richard Wagner who gave birth to what he called "music drama" in which the text (which he was the author), the partition and staging were inseparable. His early operas such as The Flying Dutchman (1843), Tannhäuser (1845) and Lohengrin (1850), preserved elements of the old style. His greatest works were Tristan and Isolde (1865), the four operas comprising the
    Ring Cycle (1852 to 1874, includes Rheingold, Die Walküre , Siegfried and The Gotterdammerung ) The Meistersinger of Nuremberg (1868), where he described the medieval guilds, and Parsifal
    Engelbert Humperdinck (1893), inspired by children's stories . The dominant figure was

    Richard Strauss, who used an orchestration and vocal techniques similar to those of Wagner Salome (1905) and pushed to the extreme Elektra in (1909). The Rosenkavalier (1911) became his most popular work. The opera was followed, among others, to Ariadne auf Naxos (1912), The Woman without a Shadow (1919) and Arabella (1933).
    Opera Russian Feodor Chaliapin in the role of Ivan Susanin in Glinka's opera A Life for the Tsar The opera was introduced in Russia in the 1730s by Italian troops and he quickly became a part of the entertainment of the imperial court and aristocracy. Many foreign composers such as Baldassare Galuppi , Giovanni Paisiello, Giuseppe Sarti and
    Domenico Cimarosa (as well as many others) were invited to Russia and received orders operas, mainly
    language Italian
    . At the same time, some domestic musicians were sent to Europe (and Maxim Berezovsky and
    Dmitro Bortniansky
    ) to study the composition of operas. The first opera written in Russian language
    Tsefal i was Procris Italian composer Francesco Araj (1755). the composers Vasily Pachkevitch , Yevstigney Fomin and Alexis Verstovsky contributed to the development of Russian opera.
    In the nineteenth century
    But the real birth of Russian opera is due to
    Mikhail Glinka and his two operas, A Life for the Tsar
    (1836) and Ruslan and Ludmilla (1842). Other masterpieces followed: The Rusalka and The Stone Guest of Alexander Dargomisky ;
    Boris Godunov (1874) and The Khovanshchina of Modest Mussorgsky ; Prince Igor (created in 1890, after his death) of Alexander Borodin ; The Snow Maiden (Sniegourotchka), Sadko and The Golden Cockerel (1909) Nikolai Rimsky-Korsakov ; Eugene Onegin and The Queen of Spades of Tchaikovsky. These works reflected the growing importance of nationalism Russian component of a movement Slavophile broader, overall artistic creation. The work of Pushkin
    , considered the founder of Russian literature, provides the plot of many of these operas, including:
    Ruslan and Ludmilla, epic poem (1817-1820)

    Eugene Onegin, a novel in verse (1823-1831) Boris Godunov , historical tragedy (1825) The Stone Guest (1830), on the theme of Don Juan The Miserly Knight (1836) The Rusalka (1832) The Queen of Spades, new (1833) The Golden Cockerel, tale (1834) the twentieth century traditions of opera Russian were echoed by many composers, including Sergei Rachmaninoff who composed The Miserly Knight and Francesca da Rimini , Igor Stravinsky with
    Le Rossignol, Mavra , Oedipus Rex, and The
    Rake's Progress, Sergei Prokofiev with
    Player , The Love for Three Oranges
    , The Fiery Angel, Betrothal in a convent
    and War and Peace, in yet Dmitri Shostakovich
    with the Nose and Lady Macbeth of Mtsensk
    , Edison Denisov
    with The foam days, and Alfred Schnittke
    with Life With an Idiot and
    Historia von D.
    Johann Fausten
    .

    Principality of Liege Opera has been one of the first literary works Walloon, which helped to give a respectable status to that language. The four operas Simon Harley, Cartier, Fabry and Vivario, known as "theater Liege, were created in 1756 , and played regularly under the Old Regime before princes guests Principality of Liege. They were republished by Francis Bailey in 1854 and contributed to the birth of Society Language and Literature in Walloon 1856. In 1757, Jean-Noël Hamal formed in Liège and Rome, was also represented at Liege in Wallonia several operas, including Li Voyedje di Tchofontaine (The Voyage of Chaudfontaine), which was played in Liege a few tens of years, with Jules Bastin in distribution. There are a record black and white (no subtitles), which was distributed by RTBF (TV) in December 1996, the death of Jules Bastin. The modern opera Traditionally, opera is a vocal art and prima donna, the backbone of a successful production. However, twentieth century, emphasis was also placed on production as a whole, the conductor the director and designer playing roles as important as those of singers .
    Several operas have been written specifically for broadcast, as Amahl in
    Gian Carlo Menotti and Owen Wingrave
    of Benjamin Britten .
    film version of
    of The Magic Flute Mozart by Ingmar Bergman ( 1974) reached a wide audience, as well as the of Don Giovanni Joseph Losey
    in 1979. In the last quarter of the twentieth century , opera, despite its artistic and technological efforts, is facing a financial crisis. In most countries, companies are heavily subsidized by the State ; To
    U.S. , major sponsors are the foundations private, commercial enterprises and generous donors. Nevertheless, new operas
    are constantly constructed in

    France, the Bastille Opera to
    Paris (
    1989) or the Opera de Lyon , responding to a concern for sonic perfection so far as 'a politico-cultural determined. The development of recording techniques, first, listening to good works at home, the cost of large productions, on the other hand, requiring a depreciation of the design, have in fact contributed to the media coverage of the Opera (classical, of course) in the twentieth century among the educated elite and make him the kind The most popular of the intellectual bourgeoisie. From the 1990s, several opera houses have begun a policy of popularization, mainly aimed a younger audience, significantly reducing ticket prices. In Theatre de la Monnaie Brussels
    of, for example, subscription packages for less than 28 years starting at 30 euros (90 euros at the Paris National Opera ). Moreover, the education department is leading a working outreach for schools, to retain the public tomorrow. Ce type de stratégie se généralise de plus en plus, sortant progressivement l'opéra du cadre élitiste dans lequel il s'était enfermé depuis la fin du XIXe siècle .
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