4 The start of the new century was marked with the emergence of ‘opera seria,’ a “serious” opera that soon became the standard Italian style. The operas were characterized by a lack of chorus and consistency, as the individuals who performed possessed separate and distinct styles and the order of the subjects of which they were interpreting seemed sporadic and haphazard. Nevertheless, with its dramatic interpretations of various historical and mythological themes, opera seria was thought of as possessing content fitting only for royalty and quickly became a favorite of the nobles and aristocrats. As such, it served to be the main attraction during the ever-popular carnival season. In less than a century, however, as opera seria was thought to be too rigid, extravagant, and expensive, fewer and fewer of the required sopranos, of whom possessed the vocal range necessary for the dramatic works, came out as opera singers as their employment moved to the church for the last decade of the century. Their talents had previously earned them the highest salaries out of any musicians, allowing those on top to live lavishly and comfortably, but the decline of opera seria in Italy forced them to change their paths and career choices.
Additionally, change emerged in the latter half of the century within the composers themselves, namely the largely influential works of Apostolo Zeno and his contemporary, Pietro Metastasio. Zeno worked to strip opera seria away from any unnecessary fanfare and theatrics and in simplifying the plot wherein characters “became symbols of specific human virtues and vices…plots tend[ed] to revolve around noble characters faced by Fate with the necessity of making an impossible choice between love and duty, or betwee...
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...e vocal distinction, the French felt obliged to give their audience both a pleasing vocal and visual performance and, in turn, included the classic ballet within the opera as per the signature Lully style. Naturally, these segments took from the main tone of the piece, as it was a relaxed period in between acts of ‘seria,’ many were not engaged with the dance. Still, with its stark contrast in characteristics, such as a central plot with limited characters and a main location of brief, yet plausibly realistic, action, the French opera nevertheless continued to compete against its Italian counterpart well into the next century as it is widely believed that “the French have historically been more concerned about safeguarding the purity and the quality of their language than any other nation (Downs, 106)” and attached themselves to the French language of Lully’s works.
“I’ll be out of here and away from all you knaves for one time anyway, as not a month will pass before you’ll see whether I’m nobody or a somebody.” The story of Bianco Alfani reflected the nature of 14th century Florentine society where, as Alfani remarked, the election to public office could make or destroy a person. In late 14th century and early 15th century Florence, decreased population and expanding commerce provided a favorable environment for ambitious individuals. The real life examples of Buonaccorso Pitti and Gregorio Dati demonstrated the positive role of ambition in Florence. Pitti, a nobleman had an extremely successful career, partaking in military campaigns, holding public office in Florence and being an ambassador to foreign courts. Gregorio Dati, the grandson of purse venders, engaged in commerce, rising in social standing which culminated with his election to public office. Holding office was a definitive sign of success and recognition in Florence. In contrast was the tale Bianco Alfani, a deemed man unworthy of office. As told by Piero Veneziano, Alfani was the chief jailor in Florence who was duped into believing he had been named captain of the town of Norcia. Alfani publicly made a fool of himself, spending all his money and creating a great fanfare over his supposed appointment. Comparing the lives of Pitti and Dati to the story of Bianco Alfani illustrates how economic and social change in 14th century Florence produced a culture centered on reputation and commerce. For men like Pitti and Dati, who flourished within the constraints of Florentine society, their reward was election to office, a public mark of acceptance and social standing. Those who were ambitious but failed to abide by the values o...
In the article “Conditions of Trade,” Michael Baxandall explains that fifteenth-century Italian art is a “deposit” resulting from the commercial interaction between the artist and the purchaser, who he refers to as a client. These works, as such, are “fossils of economic life,” and money, and they play an important role in the history of art. In our current perception of the relationship between the artist and art, “painters paint what they think is best, and then look around for a buyer” . However in the past, especially during the Renaissance period, the customers determined the content and form of paintings, as it was them who commissioned the work before it was created. He states that the artists and clients were interconnected and a legal agreement was drawn up specifying subject matter, payment scheme and the quality and quantity of colors, which would influence the artist’s painting style. Baxandall not only looks at the explanation of the style of painting that reflects a society, but also engages in the visual skills and habits that develop out of daily life. The author examines the situations between the painter and client within the commercial, religious, perceptual, and social institutions, centrally focusing on markets, materials, visual practices, and the concept of the Renaissance period, which saw art as an institution. Baxandall notes that Renaissance paintings also relate to the clients’ motives through such ways as possession, self-commemoration, civic consciousness, and self-advertisement. The author considers works of a wide variety of artistic painters, for instance, Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Luca Signorelli, and numerous others. He defines and exemplifies fiftee...
Comparing Zefferelli's production of Romeo and Juliet with Luhrman Production. In this essay I am going to write about the production of Romeo. In Franco Zeffirelli's production of Romeo and Juliet, the setting and language are of a traditional, realistic nature. This is complete.
In his day, Johann Adolph Hasse was at the forefront of Italian opera. Although he composed a fair amount of sacred works, he is best known for his operatic output. He was widely popular throughout Italy and Germany, and was commissioned by courts and opera houses throughout Europe. His performances were attended by cultural figures at the time, as well as some of the biggest names in common-era music today. In his later life, styles changed and so Hasse’s acclaim diminished after his death. But generations later, he was re-established as a figurehead and icon of classic ancient Italian opera, a designation he possesses even today.
"History of Castrati in the Opera." By Irini Kotroni. N.p., n.d. Web. 06 Feb. 2014
Although the original purpose of Dido and Aeneas may have been that of court entertainment, it has become one of Purcell’s most widely acclaimed operas, as well as one of the most popular operas of the Baroque period. The first known performance of Dido and Aeneas was held at Mount Josias Priest’s Boarding School in Chelsea, England in 1689. Scholars such as Bruce Wood and Andrew Pinnock have questioned whether this performance was truly the first, or if it was a repetition of an earlier court premiere, due to the fact that John Blow’s opera Venus and Adonis was written and then debuted in 1684, around the same time as Dido and Aeneas, and they seemed to follow the same path to their first performances. B...
A rediscover of their history and recognition of early Greek philosophers changed the way that the influential families and Princes, in Italy, considered themselves. Their way of thinking of the Devine and need to promote one’s own aspirations through sponsorship of the arts, as well as, civic duty became not only fashionable but important to progress in the city states. Although Donatello’s David and Botticelli’s Primavera are master pieces in their own right, their influence on future generations of artists cannot be ignored. The spark that ignited the fire which we call the Renaissance was a transformation of societies thinking and values to a Humanistic approach to one duties to society and the church. These two works are a reflection of the changing attitudes which would eventually change all of
The first composition, "Miserere Mei, Deus", was produced by Gregorio Allegri in 1638. I learned this, as I read along with the well-thought-out program that was given. As we, the audience, looked up to the vocalists, we were entranced by the consuming sound. The room filled with a vibrant melody, in which the harmonization and tone color was spectacular. The emotion conveyed throughout the room was one of absorption and delight. During this piece, the sopranos hit such high notes, that I was astounded. Being a person who participates in concert choir, I understand the level of commitment and talent it takes to reach those notes and stay in tune. This ...
Christmas and Opera did not merely seem to correlate, but understanding where the two events derived from can help one to understand the similarities and differences between them. The development of Christmas was different from the creation of opera because the working class was controlling the other social classes for profit. Whereas for opera, the different social classes unified to keep opera as entertainment and not a social event. Another difference came within the writing and context throughout the article and the presentation of information conveyed by the author. Yet the events share the similarity of both being refined and reinvented.
Perrin, a French composer, introduced opera around this time and Lully thought it was absurd. However, when Perrin’s “Promone” succeeded, Lully changed his mind. Perrin ended up in prison over a money dispute and Lully bought the opera patent from him. This gave him complete control of French operatic performances. Then in 1673 Molière died and the King granted the patent for the Royal Theater to Lylly also. Lully’s new operatic style grew out of his popular ballets. He kept the overture, entry music for the dancers, atmosphere and action symphonies, and some of the dances themselv...
For the musical composer essay, I have chosen to write about a man who I felt made the greatest impact on Romantic opera in the 19th century this master of a man was given the name Giuseppe Fortunio Francesco Verdi but was commonly known as Giuseppe Verdi by all who knew and loved him. This great man was born on either October 9, or 10 in the year 1813 in the community of Le Roncole, near a small town called Busseto in the province of Parma, Italy his astrological sign is that of a Libra. His mother and father were both of Italian descent and their names were Carlo and Luigia Verdi respectively. Now this is where it gets complicated Verdi told every person that talked to him about his background that his parents were illiterate peasants. Despite this lie that Verdi told them they later discovered that his parents were not illiterate peasants as he had claimed but were very smart individuals tha...
What are the similarities between the plot of Cinthio’s work and Shakespeare’s Othello? (the main themes and conflicts)
A passion for opera and its traditions. (n.d.).Retrieved from http://www.italia.it/en/focus.html?tx_ptispecials_pi1[showUid] = 246. The National Opera Center of America. n.d. - n.d. - n.d. Retrieved from http://www.operaamerica.org/content/education/learningCenter/intro.aspx.
The social conditions that contributed to the style of the Baroque are of particular importance, as well. During these years, it was very common for the rulers of that time to hold absolute power over their people. Some will call it the “age of absolutism”. Because of this, many common people never really experienced the benefits of this era. This was reserved for the wealthy and well-connected in that society. The politics of the day were driven b...
The Baroque era was the age of magic. Flat surfaces became three-dimensional and paint on plaster became alive. It was the age of masterful illusion. Nothing exhibits this mastery better than Baroque ceiling paintings.