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The Most Beautiful Opera Overtures
The Most Beautiful Opera Overtures
  • Order:
  • Duration: 10:01
  • Published: 06 Mar 2008
  • Uploaded: 24 Feb 2011
  • Author: 0OoFACUoO0
I've chosen some of the most beautiful opera overtures. 1) Mozart: The Marriage of Figaro. 2) Mozart: The Abduction from the Seraglio. 3) Mozart: The Magic Flute. 4) Mozart: Don Giovanni. 5) Beethoven: Fidelio. 6) Rossini: William Tell. 7) Rossini: La Gazza Ladra. 8) Rossini: The Barber of Seville. 9) Rossini: Semiramide. 10) Rossini: L'italiana in Algeri. 11) Wagner: The Mastersingers of Nuremberg. 12) Wagner: Tannhäuser. 13) Wagner: Lohengrin. 14) Offenbach: Orpheus in the Underworld. 15) Bizet: Carmen. 16) Verdi: Nabucco. 17) Verdi: La Traviata.
Sarah Brightman & Antonio Banderas - The Phantom Of The Oper
Sarah Brightman & Antonio Banderas - The Phantom Of The Oper
Sarah Brightman & Antonio Banderas - The Phantom Of The Opera
Dragostea din tei - opera version
Dragostea din tei - opera version
  • Order:
  • Duration: 2:04
  • Published: 09 Jun 2007
  • Uploaded: 25 Feb 2011
  • Author: szkaradnik
Arrangement: Bernard Chmielarz( funny) Music: Kukla Band conducted by Zygmunt Kukla Piano: Waldemar Malicki Cast: Renata Drozd (soprano), Ryszard Cieśla(baritone),Robert Cieśla(baritone),Łukasz Rynkowski(baritone)
JACKIE EVANCHO Opera Singer America
JACKIE EVANCHO Opera Singer America"s got talent You tube edition.mp4-8-10-10
  • Order:
  • Duration: 6:18
  • Published: 11 Aug 2010
  • Uploaded: 25 Feb 2011
  • Author: weedlers7
Amazing Angelical voice unbelibable a 10 year old lots of talent standing ovation A must watch Video check my other channels alcocer7-weedlers1-weedlers4ever
Phantom of the Opera --- Think of Me
Phantom of the Opera --- Think of Me
  • Order:
  • Duration: 4:22
  • Published: 28 Sep 2006
  • Uploaded: 24 Feb 2011
  • Author: Mienaina
Think of me, in the 2005 Phantom of the Opera movie. Performed by Emmy Rossum, with a cameo by that Patrick dude.
WORLD RECORD SPEED TEST
WORLD RECORD SPEED TEST
This is a world record speed test. So there you have it. Download Opera from www.opera.com Get more news about Odd & Even on their My Opera blog: my.opera.com
Hannibal - The Opera
Hannibal - The Opera
One of the most beautiful (and, of course, creepy) scenes from Ridley Scott's Hannibal. The song playing is called "Vide Cor Meum" - composed by Patrick Cassidy. Scott also used it in Kingdom of Heaven.
Kamelot - Ghost Opera
Kamelot - Ghost Opera
THANK YOU for 2 million + views!! Add &fmt=18 at the end of the URL. This improves the sound quality of the video. Kamelot announces "Pandemonium Over Europe Tour 2011 Kamelot, one of the most exciting and innovative Metal acts in recent history, has announced their highly anticipated...
Nightwish
Nightwish "The Phantom Of The Opera" with lyrics
lyrics are here......... The Phantom Of The Opera Tarja & Marco (vocals) [CHRISTINE:] Tarja In sleep he sang to me - In dreams he came That voice which calls to me - And speaks my name And do I dream again - For now I find The Phantom of the opera is there - Inside my mind [PHANTOM:]Marco - Sing once again with me Our strange duet My power over you - Grows stronger yet And though you turn from me - To glance behind The Phantom of the opera is there - Inside your mind [CHRISTINE:] Tarja - Those who have seen your face Draw back in fear - I am the mask you wear [PHANTOM:] Marco - It's me they hear [TOGETHER:] Your spirit and my voice In one combined The phantom of the opera is there - Inside your mind [CHRISTINE:] Tarja Opera- Beware - Phantom of the opera [PHANTOM:] Marco - In all your fantasies You always knew - That man and mystery [CHRISTINE:] Tarja - Were both in you [TOGETHER:] And in this labyrinth - Where night is blind The phantom of the opera is there - Inside your mind [PHANTOM:] Marco - Sing my angel of music [TOGETHER:] **Finale - the good stuff** ................................................................................. Tarja Turunen - vocals Emppu Vuorinen - guitar Marco Tapani Hietala - bass,vocals Jukka "Julius" Nevalainen - drums, percussion Tuomas Holopainen - synthesizer (composer) .................................................................................
Vitas- Opera 2
Vitas- Opera 2
  • Order:
  • Duration: 3:29
  • Published: 10 Dec 2006
  • Uploaded: 24 Feb 2011
  • Author: jajazz84
Russian Opera
Terminator 2: The Opera (Arnold Schwarzenegger)
Terminator 2: The Opera (Arnold Schwarzenegger)
  • Order:
  • Duration: 2:29
  • Published: 30 Aug 2010
  • Uploaded: 25 Feb 2011
  • Author: legolambs
By popular demand: Arnold Schwarzenegger laments his inability to kill in the aria "To Kill Someone Again" from Terminator 2: The Opera. Music and Lyrics by Jon and Al Kaplan (Conan the Barbarian: The Musical; Silence! The Musical) Contains Brad Fiedel's opening Terminator rhythm. Since we released our first Arnold Schwarzenegger musical (Total Recall) almost a decade ago, Terminator has been our most requested title for musicalization. We hope you enjoy this aria. www.jonandal.com http
Opera Company of Philadelphia
Opera Company of Philadelphia "Flash Brindisi" at Reading Terminal Market (April 24, 2010)
  • Order:
  • Duration: 3:52
  • Published: 26 Apr 2010
  • Uploaded: 24 Feb 2011
  • Author: operaphila
On Saturday, April 24th, the Opera Company of Philadelphia teamed up with the Reading Terminal Market Italian Festival for a large-scale "Flash Opera" event! Over 30 members of the Opera Company of Philadelphia Chorus and principal cast members of LA TRAVIATA performed the famed "Brindisi" in the aisles of Reading Terminal Market, entertaining hundreds of Philadelphians, and proving that the perfect accompaniment for all things Italian is a little Verdi! The Opera Company sincerely thanks members of the Opera Company of Philadelphia Chorus and cast for generously volunteering their time and talents... BRAVI TUTTI!! LA TRAVIATA runs from May 7 - 16 at the Academy of Music. For tickets/info: 215-893-1018 or operaphila.org
Nightwish - Phantom of the Opera
Nightwish - Phantom of the Opera
  • Order:
  • Duration: 5:00
  • Published: 23 Sep 2006
  • Uploaded: 25 Feb 2011
  • Author: microaulo
Nightwish - End of an era
Opera Company of Philadelphia
Opera Company of Philadelphia "Hallelujah!" Random Act of Culture
  • Order:
  • Duration: 5:59
  • Published: 01 Nov 2010
  • Uploaded: 25 Feb 2011
  • Author: operaphila
www.operaphila.org -- On Saturday, October 30, 2010, the Opera Company of Philadelphia brought together over 650 choristers from 28 participating organizations to perform one of the Knight Foundation's "Random Acts of Culture" at Macy's in Center City Philadelphia. Accompanied by the Wanamaker Organ - the world's largest pipe organ - the OCP Chorus and throngs of singers from the community infiltrated the store as shoppers, and burst into a pop-up rendition of the Hallelujah Chorus from Handel's "Messiah" at 12 noon, to the delight of surprised shoppers. This event is one of 1000 "Random Acts of Culture" to be funded by the John S. and James L. Knight Foundation over the next three years. The initiative transports the classical arts out of the concert halls and opera houses and into our communities to enrich our everyday lives. To learn more about this program and view more events, visit www.randomactsofculture.org. The Opera Company thanks Macy's and the Friends of the Wanamaker Organ (http for their partnership, as well as Organ Music Director Peter Conte and Fred Haas, accompanists; OCP Chorus Master Elizabeth Braden, conductor; and Sound Engineer James R. Stemke. For a complete list of participating choirs and more information, visit www.operaphila.org This event was planned to coincide with the first day of National Opera Week. For clues about upcoming Random Acts of Culture, find us on Facebook www.operaphila.org or follow us on Twitter www.operaphila.org
Tour de Japon - Opera
Tour de Japon - Opera "Maria and Draco" (Part A)
  • Order:
  • Duration: 6:29
  • Published: 16 Nov 2006
  • Uploaded: 24 Feb 2011
  • Author: contrafool
This is the eleventh item on the setlist. Thirteen items total. It was performed by the New Japan Philharmonic.
Victor Borge -
Victor Borge - "A Mozart Opera"
  • Order:
  • Duration: 8:05
  • Published: 21 Oct 2006
  • Uploaded: 25 Feb 2011
  • Author: johal91a
Victor Borge's "A Mozart Opera". A really funny laugh-out-loud comedy!
Schubert - Ave Maria (Opera)
Schubert - Ave Maria (Opera)
  • Order:
  • Duration: 6:16
  • Published: 28 Mar 2007
  • Uploaded: 25 Feb 2011
  • Author: Daishi001
Jetzt bei Amazon.de kaufen: www.amazon.de
The Phantom of the Opera
The Phantom of the Opera
  • Order:
  • Duration: 4:35
  • Published: 03 Mar 2009
  • Uploaded: 24 Feb 2011
  • Author: OfficialRUG
Steve Harley and Sarah Brightman in the famous music video version of 'The Phantom of the Opera'. For more Phantom, visit the website: www.thephantomoftheopera.com or www.reallyuseful.com or follow us on Twitter: twitter.com
Phantom of the Opera Trailer
Phantom of the Opera Trailer
  • Order:
  • Duration: 2:40
  • Published: 22 Feb 2007
  • Uploaded: 23 Feb 2011
  • Author: vorathiel
The trailer from the film of the phantom of the opera film by Joel Schumacher remake of the musical by Andrew Lloyd webbed inspired by the book written by Gaston Leroux
Jackie Evancho, 10 (classical crossover singer) ~ America's Got Talent YouTube Special
Jackie Evancho, 10 (classical crossover singer) ~ America's Got Talent YouTube Special
nbc.com 10 years old Gifted Child - Jackie Evancho singing "O Mio Babbino Caro" on America's Got Talent YouTube Special week.Acts that were discovered by viewers on the popular website YouTube perform live in Hollywood, hoping to win their chance to compete alongside 16 others semifinalists for the $1 million prize and the title of the most talented act in America. ©NBC Universal, Inc. SYCO TV & FremantleMedia North America, Inc. Visual content owned/administered by NBC Universal (News) Musical Composition owned/administered by Music Publishing Rights Collecting Society
Opera 10.50 web browser
Opera 10.50 web browser
A look at our latest browser, Opera 10.50 - The fastest browser in the world. You can download it for free at www.opera.com
Paul Potts - Prague Opera House Medley - Long Version
Paul Potts - Prague Opera House Medley - Long Version
Consists of Music Video clips from Time to Say Goodbye (Con te Partiro), Nessun Dorma, O Holy Night, and Everybody Hurts (Ognuno Soffre). Long Version.
Iron Maiden - Phantom Of The Opera (Live at Ullevi)
Iron Maiden - Phantom Of The Opera (Live at Ullevi)
  • Order:
  • Duration: 9:53
  • Published: 11 Aug 2006
  • Uploaded: 23 Feb 2011
  • Author: notp
Iron Maiden's "Early Days" tour at Ullevi Stadium in Gothenburg, Sweden, in 2005. Track 12 - "Phantom Of The Opera".
I've chosen some of the most beautiful opera overtures. 1) Mozart: The Marriage of Figaro. 2) Mozart: The Abduction from the Seraglio. 3) Mozart: The Magic Flute. 4) Mozart: Don Giovanni. 5) Beethoven: Fidelio. 6) Rossini: William Tell....
The Most Beau­ti­ful Opera Over­tures
10:01
Sarah Bright­man & An­to­nio Ban­deras - The Phan­tom Of The Oper
6:22
Dragostea din tei - opera ver­sion
2:04
JACK­IE EVAN­CHO Opera Singer Amer­i­ca"s got tal­ent You tube edition.​mp4-8-10-10
6:18
Phan­tom of the Opera --- Think of Me
4:22
WORLD RECORD SPEED TEST
1:44
Han­ni­bal - The Opera
4:09
Kamelot - Ghost Opera
4:10
Nightwish "The Phan­tom Of The Opera" with lyrics
5:16
Vi­tas- Opera 2
3:29
Ter­mi­na­tor 2: The Opera (Arnold Schwarzeneg­ger)
2:29
Opera Com­pa­ny of Philadel­phia "Flash Brin­disi" at Read­ing Ter­mi­nal Mar­ket (April 24, 2010)
3:52
Nightwish - Phan­tom of the Opera
5:00
Opera Com­pa­ny of Philadel­phia "Hal­lelu­jah!" Ran­dom Act of Cul­ture
5:59
remove add to playlist show more results video results for: opera
Tour de Japon - Opera "Maria and Draco" (Part A)
6:29
Vic­tor Borge - "A Mozart Opera"
8:05
Schu­bert - Ave Maria (Opera)
6:16
The Phan­tom of the Opera
4:35
Phan­tom of the Opera Trail­er
2:40
Jack­ie Evan­cho, 10 (clas­si­cal crossover singer) ~ Amer­i­ca's Got Tal­ent YouTube Spe­cial
6:43
Opera 10.50 web brows­er
1:39
Paul Potts - Prague Opera House Med­ley - Long Ver­sion
5:02
Iron Maid­en - Phan­tom Of The Opera (Live at Ulle­vi)
9:53


The Novosibirsk Opera and Ballet Theater, in Novosibirsk, is the biggest opera house in Russia.
photo: Creative Commons / Jarvin
The Novosibirsk Opera and Ballet Theater, in Novosibirsk, is the biggest opera house in Russia.
The Novosibirsk Opera and Ballet Theater, in Novosibirsk, is the biggest opera house in Russia. Venice, was along with Florence and Rome, one of the cradles of the Italian lyric opera. The Copenhagen Opera House in Denmark Since many operas are large-scale productions, opera houses are usually large – generally more than 1,000 seats and often several thousand seats. Sichuan opera in Chengdu In the early years of the People's Republic of China, the development of Beijing opera was encouraged; many new operas on historical and modern themes were written, and earlier operas continued to be performed. As a popular art form, opera has usually been the first of the arts to reflect changes in Chinese policy The Dresden Semperoper in Germany Since many operas are large-scale productions, opera houses are usually large – generally more than 1,000 seats and often several thousand seats. The Civic Opera House is an opera house located at 20 North Wacker Drive in Chicago. It is part of a building which contains a 45-story office tower and two 22-story wings. This structure opened on November 4, 1929 and has an Art Deco interior. During the 1950s and 1960s the building was identified by a large State Opera Stara Zagora Sichuan opera opera or Chuanju (Chinese: 川剧 pinyin: chuānjù) is a type of Chinese opera originating in China's Sichuan province around 1700.[1][2] Today's Sichuan opera is a relatively recent synthesis of 5 historic melodic styles. Kroll Opera House Jan´07 - Holiday - L´Opera Nationale de Paris -France - (mv3) Jan´07 - Holiday - L´Opera Nationale de Paris -France - (mv3) Jan´07 - Holiday - L´Opera Nationale de Paris -France - (mv3) Jan´07 - Holiday - L´Opera Nationale de Paris -France - (mv3) Stationery Hanover is an opera house and opera company in Hanover. It is one of the leading opera companies in Germany. Madama Butterfly The rear of the Staatsoper during the day, showing the stage wings. The Vienna State Opera (Wiener Staatsoper) is an opera house – and opera company – with a history dating back to the mid-19th century. Ankara Opera House The Opera House seen from the north. The major hall, which was originally to be a multipurpose opera/concert hall, became solely a concert hall, called the Concert Hall. The minor hall, originally for stage productions only, had the added function of opera and ballet to deal with and is called the Opera Theater. Teatro Comunale Florence The Opera House seen from the north. The major hall, which was originally to be a multipurpose opera/concert hall, became solely a concert hall, called the Concert Hall. Opern- und Schauspielhaus Frankfurt .The Alexandria Opera House in Alexandria, Egypt also known as Sayyed Darwish Theater (and formerly Mohamed Aly Theater). Detroit Opera House Opera Royal De Walloon Berlin State Opera The Royal Opera House, Bow Street frontage, with Enzo Plazzotta's statue 'Young Dancer' in the foreground. Silesian Opera Foyer Opernhaus Zürich (Zurich Opera House) is an opera house in the Swiss city of Zurich A Chinese Opera (Beijing Opera) performance in Beijing, one of the many aspects of traditional Chinese culture


photo: wn photo
 CitiBank, Singapore
Canada Dot Com11 Apr 2011
Citibank's Indonesian operation is in the throes of a public-relations nightmare with three employees charged over the death of a customer querying a maxed-out credit card bill and a bank...
photo: WN / Yolanda Leyba
Internet Explorer - Browser
Hartford Courant02 Apr 2011
A slew of new (free, of course) Web browsers have come out recently, highlighted by the recent launch of Firefox 4 for Windows, Mac OS X and Linux. The developers at Mozilla included many new...
photo: Creative Commons / Smtunli,
Vienna State Opera. A superb marble staircase sweeps up from the main entrance to the first floor. The building was the first major building on the Vienna Ringstraße commissioned by the controversial Viennese "city expansion fund".
The Australian04 Mar 2011
THE TV cameras were told to ignore her, and Austria's rich and powerful sought to avoid her. But amid all the bling on display last...

The Examiner Over the last two weeks the WWE has sent out press releases and contacted various media outlets to inform the public that the WWE will be dropping its wrestling label in efforts to create a broader entertainment company. On Wednesday, Wrestlheat.com reported that the WWE has banned certain terms or labels from being used to describe it's product on Television and in various...
The Examiner Andrew Lloyd Webber would be proud. When first conceiving of Phantom of the Opera, he most likely never had in mind that a group of high school students would be able to perform this musical masterpiece. But he didn’t factor in the talents of the Edwardian Players in Cleveland, Ohio. The Edwardian...
The Daily Telegraph The highlights of the Royal Opera House's 2011-2012 season. Royal Ballet perform La Fille Mal Gardee at the Royal Opera House Photo: Bill Cooper Il Trittico, Mon 12 Sept until Tues 27 Sept 2011 This is The Royal Opera' first complete presentation of Puccini's Il Trittico since 1965. Leading director Richard Jones will add two new parts to his Gianni Schicchi and Antonio Pappano...
The Daily Telegraph We should be showcasing the best of British culture next year, so where are the names we expect to see? Bryn Terfel in The Flying Dutchman Photo: PA By Rupert Christiansen 8:00PM BST 13 Apr 2011 Comments Delighted as I am to see the Royal Opera's 2011-12 season presenting the premiere of a new opera by Judith Weir and welcome new productions of Puccini's Il Trittico and...
Skiddle Showcase Cinemas are proud to present a Live screening of Macbeth from the Royal Opera House in London Date: Monday 13th June 2011 Venue: Showcase Cinema, Leeds » Location: West Yorkshire Doors: 19:15 til 22:15 Event short url:...
The Daily Mail European Union regulators have fined domestic product giants Procter & Gamble and Unilever a total of £280million for fixing prices of powdered laundry detergent across eight EU countries. US based Procter and Gamble has been ordered to pay £188 million and British-Dutch company Unilever £92million. Both companies had their fines reduced because they agreed to settle the...
York Press MILTON Jones is the “weird bloke with the shirts from Mock The Week”. Plenty of you know that already, judging by the healthy-sized audience on Monday, barely two months after the Lion Whisperer first performed his deadpan act at...
The Examiner Many people need someone to watch their kids when they go to the movies. George Woodard needs someone to watch his cows. A dairy farmer/filmmaker (in that order), Woodard appeared at the Hyde Park Opera House last Saturday for a screening of his movie The Summer of Walter Hacks – but not before ensuring that the cows on his Waterbury Center farm would be properly milked and fed...
The Independent After one career as an actor and singer, Betty Paul switched to another as a writer and co-created ITV's first rural soap opera, Weavers Green (1966), with her third husband, Peter Lambda. They envisaged Weavers Green as "a mirror of country life", and set their stories around a Norfolk village's veterinary practice run by Alan Armstrong (Grant Taylor) and Geoffrey Toms (Eric...
The Providence Journal It used to be that baseball and the stock market both were long-term investments. The daily ups and downs were meant to be ignored. In both cases, it was supposed to be only the big picture that mattered. Don't over-react to results, whether wins or losses, on any given day. Stay calm. Stay focused. Maintain an even keel. Stay the course. Sorry, but it doesn't work that way any...
more news on: Opera


Opera

NameOpera
CaptionThe Palais Garnier of the Paris Opéra, one of the world's most famous opera houses.
AncestorDrama
CultureItaly
Eralate 1500s}}
Opera is an art form in which singers and musicians perform a dramatic work combining text (called a libretto) and musical score. About 1683, John Blow composed Venus and Adonis, often thought of as the first true English-language opera.

Blow's immediate successor was the better known Henry Purcell. Despite the success of his masterwork Dido and Aeneas (1689), in which the action is furthered by the use of Italian-style recitative, much of Purcell's best work was not involved in the composing of typical opera, but instead he usually worked within the constraints of the semi-opera format, where isolated scenes and masques are contained within the structure of a spoken play, such as Shakespeare in Purcell's The Fairy-Queen (1692) and Beaumont and Fletcher in The Prophetess (1690) and Bonduca (1696). The main characters of the play tend not to be involved in the musical scenes, which means that Purcell was rarely able to develop his characters through song. Despite these hindrances, his aim (and that of his collaborator John Dryden) was to establish serious opera in England, but these hopes ended with Purcell's early death at the age of 36.

Following Purcell, the popularity of opera in England dwindled for several decades. A revived interest in opera occurred in the 1730s which is largely attributed to Thomas Arne, both for his own compositions and for alerting Handel to the commercial possibilities of large-scale works in English. Arne was the first English composer to experiment with Italian-style all-sung comic opera, with his greatest success being Thomas and Sally in 1760. His opera Artaxerxes (1762) was the first attempt to set a full-blown opera seria in English and was a huge success, holding the stage until the 1830s. Although Arne imitated many elements of Italian opera, he was perhaps the only English composer at that time who was able to move beyond the Italian influences and create his own unique and distinctly English voice. His modernized ballad opera, Love in a Village (1762), began a vogue for pastiche opera that lasted well into the 19th century. Charles Burney wrote that Arne introduced "a light, airy, original, and pleasing melody, wholly different from that of Purcell or Handel, whom all English composers had either pillaged or imitated". (Lithograph)]] Besides Arne, the other dominating force in English opera at this time was George Frideric Handel, whose opera serias filled the London operatic stages for decades, and influenced most home-grown composers, like John Frederick Lampe, who wrote using Italian models. This situation continued throughout the 18th and 19th centuries, including in the work of Michael William Balfe, and the operas of the great Italian composers, as well as those of Mozart, Beethoven and Meyerbeer, continued to dominate the musical stage in England.

The only exceptions were ballad operas, such as John Gay's The Beggar's Opera (1728), musical burlesques, European operettas, and late Victorian era light operas, notably the Savoy Operas of W. S. Gilbert and Arthur Sullivan, all of which types of musical entertainments frequently spoofed operatic conventions. Sullivan wrote only one grand opera, Ivanhoe (following the efforts of a number of young English composers beginning about 1876), but he claimed that even his light operas constituted part of a school of "English" opera, intended to supplant the French operettas (usually performed in bad translations) that had dominated the London stage from the mid-19th century into the 1870s. London's Daily Telegraph agreed, describing The Yeomen of the Guard as "a genuine English opera, forerunner of many others, let us hope, and possibly significant of an advance towards a national lyric stage."

In the 20th century, English opera began to assert more independence, with works of Ralph Vaughan Williams and in particular Benjamin Britten, who in a series of works that remain in standard repertory today, revealed an excellent flair for the dramatic and superb musicality. Today composers such as Thomas Adès continue to export English opera abroad. More recently Sir Harrison Birtwistle has emerged as one of Britain's most significant contemporary composers from his first opera Punch and Judy to his most recent critical success in The Minotaur. In the first decade of the 21st century, the librettist of an early Birtwistle opera, Michael Nyman, has been focusing on composing operas, including Facing Goya, , and Love Counts.

Also in the 20th century, American composers like Leonard Bernstein, George Gershwin, Gian Carlo Menotti, Douglas Moore, and Carlisle Floyd began to contribute English-language operas infused with touches of popular musical styles. They were followed by composers such as Philip Glass, Mark Adamo, John Corigliano, Robert Moran, John Coolidge Adams, and Jake Heggie.

Russian opera

as Ivan Susanin in Glinka's A Life for the Tsar]] Opera was brought to Russia in the 1730s by the Italian operatic troupes and soon it became an important part of entertainment for the Russian Imperial Court and aristocracy. Many foreign composers such as Baldassare Galuppi, Giovanni Paisiello, Giuseppe Sarti, and Domenico Cimarosa (as well as various others) were invited to Russia to compose new operas, mostly in the Italian language. Simultaneously some domestic musicians like Maksym Berezovsky and Dmitry Bortniansky were sent abroad to learn to write operas. The first opera written in Russian was Tsefal i Prokris by the Italian composer Francesco Araja (1755). The development of Russian-language opera was supported by the Russian composers Vasily Pashkevich, Yevstigney Fomin and Alexey Verstovsky.

However, the real birth of Russian opera came with Mikhail Glinka and his two great operas A Life for the Tsar (1836) and Ruslan and Lyudmila (1842). After him in the 19th century in Russia there were written such operatic masterpieces as Rusalka and The Stone Guest by Alexander Dargomyzhsky, Boris Godunov and Khovanshchina by Modest Mussorgsky, Prince Igor by Alexander Borodin, Eugene Onegin and The Queen of Spades by Pyotr Tchaikovsky, and The Snow Maiden and Sadko by Nikolai Rimsky-Korsakov. These developments mirrored the growth of Russian nationalism across the artistic spectrum, as part of the more general Slavophilism movement.

In the 20th century the traditions of Russian opera were developed by many composers including Sergei Rachmaninoff in his works The Miserly Knight and Francesca da Rimini, Igor Stravinsky in Le Rossignol, Mavra, Oedipus rex, and The Rake's Progress, Sergei Prokofiev in The Gambler, The Love for Three Oranges, The Fiery Angel, Betrothal in a Monastery, and War and Peace; as well as Dmitri Shostakovich in The Nose and Lady Macbeth of the Mtsensk District, Edison Denisov in L'écume des jours, and Alfred Schnittke in Life with an Idiot and Historia von D. Johann Fausten.

Other national operas

Spain also produced its own distinctive form of opera, known as zarzuela, which had two separate flowerings: one from the mid-17th century through the mid-18th century, and another beginning around 1850. During the late 18th century up until the mid-19th century, Italian opera was immensely popular in Spain, supplanting the native form.

Czech composers also developed a thriving national opera movement of their own in the 19th century, starting with Bedřich Smetana, who wrote eight operas including the internationally popular The Bartered Bride. Antonín Dvořák, most famous for Rusalka, wrote 13 operas; and Leoš Janáček gained international recognition in the 20th century for his innovative works including Jenůfa, The Cunning Little Vixen, and Káťa Kabanová.

The key figure of Hungarian national opera in the 19th century was Ferenc Erkel, whose works mostly dealt with historical themes. Among his most often performed operas are Hunyadi László and Bánk bán. The most famous modern Hungarian opera is Béla Bartók's Duke Bluebeard's Castle.

The best-known composer of Polish national opera was Stanisław Moniuszko, most celebrated for the opera Straszny Dwór (in English The Haunted Manor). In the 20th century, other operas created by Polish composers included King Roger by Karol Szymanowski and Ubu Rex by Krzysztof Penderecki.

Contemporary, recent, and Modernist trends

Modernism

Perhaps the most obvious stylistic manifestation of modernism in opera is the development of atonality. The move away from traditional tonality in opera had begun with Richard Wagner, and in particular the Tristan chord. Composers such as Richard Strauss, Claude Debussy, Giacomo Puccini, Paul Hindemith and Hans Pfitzner pushed Wagnerian harmony further with a more extreme use of chromaticism and greater use of dissonance.

.]] Operatic modernism truly began in the operas of two Viennese composers, Arnold Schoenberg and his student Alban Berg, both composers and advocates of atonality and its later development (as worked out by Schoenberg), dodecaphony. Schoenberg's early musico-dramatic works, Erwartung (1909, premiered in 1924) and Die glückliche Hand display heavy use of chromatic harmony and dissonance in general. Schoenberg also occasionally used Sprechstimme, which he described as: "The voice rising and falling relative to the indicated intervals, and everything being bound together with the time and rhythm of the music except where a pause is indicated".

The two operas of Schoenberg's pupil Alban Berg, Wozzeck (1925) and Lulu (incomplete at his death in 1935) share many of the same characteristics as described above, though Berg combined his highly personal interpretation of Schoenberg's twelve-tone technique with melodic passages of a more traditionally tonal nature (quite Mahlerian in character) which perhaps partially explains why his operas have remained in standard repertory, despite their controversial music and plots. Schoenberg's theories have influenced (either directly or indirectly) significant numbers of opera composers ever since, even if they themselves did not compose using his techniques. Composers thus influenced include the Englishman Benjamin Britten, the German Hans Werner Henze, and the Russian Dmitri Shostakovich. (Philip Glass also makes use of atonality, though his style is generally described as minimalist, usually thought of as another 20th century development.)

However, operatic modernism's use of atonality also sparked a backlash in the form of neoclassicism. An early leader of this movement was Ferruccio Busoni, who in 1913 wrote the libretto for his neoclassical number opera Arlecchino (first performed in 1917). Also among the vanguard was the Russian Igor Stravinsky. After composing music for the Diaghilev-produced ballets Petrushka (1911) and The Rite of Spring (1913), Stravinsky turned to neoclassicism, a development culminating in his opera-oratorio Oedipus Rex (1927). Well after his Rimsky-Korsakov-inspired works The Nightingale (1914), and Mavra (1922), Stravinsky continued to ignore serialist technique and eventually wrote a full-fledged 18th century-style diatonic number opera The Rake's Progress (1951). His resistance to serialism (which ended at the death of Schoenberg) proved to be an inspiration for many other composers.

Other trends

A common trend throughout the 20th century, in both opera and general orchestral repertoire, is the use of smaller orchestras as a cost-cutting measure; the grand Romantic-era orchestras with huge string sections, multiple harps, extra horns, and exotic percussion instruments were no longer feasible. As government and private patronage of the arts decreased throughout the 20th century, new works were often commissioned and performed with smaller budgets, very often resulting in chamber-sized works, and short, one-act operas. Many of Benjamin Britten's operas are scored for as few as 13 instrumentalists; Mark Adamo's two-act realization of Little Women is scored for 18 instrumentalists.

Another feature of 20th century opera is the emergence of contemporary historical operas. The Death of Klinghoffer, Nixon in China and Doctor Atomic by John Adams, and Dead Man Walking by Jake Heggie exemplify the dramatisation on stage of events in recent living memory, where characters portrayed in the opera were alive at the time of the premiere performance. Earlier models of opera generally stuck to more distant history, re-telling contemporary fictional stories (reworkings of popular plays), or mythical/legendary stories.

The Metropolitan Opera in the US reports that the average age of its audience is now 60. Many opera companies have experienced a similar trend, and opera company websites are replete with attempts to attract a younger audience. This trend is part of the larger trend of greying audiences for classical music since the last decades of the 20th century. In an effort to attract younger audiences, the Metropolitan Opera offers a student discount on ticket purchases. Major opera companies have been better able to weather the funding cutbacks, because they can afford to hire star singers which draw substantial audiences who want to see if their favourite singer will be able to hit their high "money notes" in the show.

Smaller companies in the US have a more fragile existence, and they usually depend on a "patchwork quilt" of support from state and local governments, local businesses, and fundraisers. Nevertheless, some smaller companies have found ways of drawing new audiences. Opera Carolina offer discounts and happy hour events to the 21–40 year old demographic. In addition to radio and television broadcasts of opera performances, which have had some success in gaining new audiences, broadcasts of live performances in HD to movie theatres have shown the potential to reach new audiences. Since 2006, the Met has broadcast live performances to several hundred movie screens all over the world.

From musicals back towards opera

Also by the late 1930s, some musicals began to be written with a more operatic structure. These works include complex polyphonic ensembles and reflect musical developments of their times. Porgy and Bess (1935), influenced by jazz styles, and Candide (1956), with its sweeping, lyrical passages and farcical parodies of opera, both opened on Broadway but became accepted as part of the opera repertory. Show Boat, West Side Story, Brigadoon, , Evita, The Light in the Piazza, The Phantom of the Opera and others tell dramatic stories through complex music and are now sometimes seen in opera houses. Some musicals, beginning with Tommy (1969) and Jesus Christ Superstar (1971) and continuing through Les Misérables (1980), Rent (1996) and Spring Awakening (2006), use various operatic conventions, such as through composition, recitative instead of dialogue, leitmotifs and dramatic stories told predominantly through rock, pop or contemporary music.

Acoustic enhancement with speakers

A subtle type of sound electronic reinforcement called acoustic enhancement is used in some concert halls where operas are performed. Acoustic enhancement systems help give a more even sound in the hall and prevent "dead spots" in the audience seating area by "...augment[ing] a hall's intrinsic acoustic characteristics." The systems use "...an array of microphones connected to a computer [which is] connected to an array of loudspeakers." However, as concertgoers have become aware of the use of these systems, debates have arisen, because some "...purists maintain that the natural acoustic sound of [Classical] voices [or] instruments in a given hall should not be altered."

Kai Harada's article "Opera's Dirty Little Secret" states that opera houses began using electronic acoustic enhancement systems in the 1990s "...to compensate for flaws in a venue's acoustical architecture." Despite the uproar that has arisen amongst operagoers, Harada points out that none of the major opera houses using acoustic enhancement systems "...use traditional, Broadway-style sound reinforcement, in which most if not all singers are equipped with radio microphones mixed to a series of unsightly loudspeakers scattered throughout the theatre." Instead, most opera houses use the sound reinforcement system for acoustic enhancement, and for subtle boosting of offstage voices, child singers, onstage dialogue, and sound effects (e.g., church bells in Tosca or thunder effects in Wagnerian operas).

Operatic voices

First of all Operatic voices needed enough volume to compete with the overwhelming volume of the orchestra. In times without electronic devices nor microphones that could amplify them they needed special techniques to make sure the people in the end rows of the theatre could enjoy them as much as the front rows did. Therefore a singing technique was developed to make sure they could stand out in the bombast of the orchestra, without the musicians having to compromise in volume.

Vocal classifications

Singers and the roles they play are classified by voice type, based on the tessitura, agility, power and timbre of their voices. Male singers can be loosely classified by vocal range as bass, bass-baritone, baritone, tenor and countertenor, and female singers as contralto, mezzo-soprano and soprano. (Men sometimes sing in the "female" vocal ranges, in which case they are termed sopranist or countertenor. Of these, only the countertenor is commonly encountered in opera, sometimes singing parts written for castrati – men neutered at a young age specifically to give them a higher singing range.) Singers are then classified by voice type – for instance, a soprano can be described as a lyric soprano, coloratura, soubrette, spinto, or dramatic soprano. These terms, although not fully describing a singing voice, associate the singer's voice with the roles most suitable to the singer's vocal characteristics. A particular singer's voice may change drastically over his or her lifetime, rarely reaching vocal maturity until the third decade, and sometimes not until middle age.

Historical use of voice parts

:The following is only intended as a brief overview. For the main articles, see soprano, mezzo-soprano, alto, tenor, baritone, bass, countertenor and castrato.

The soprano voice has typically been used as the voice of choice for the female protagonist of the opera since the latter half of the 18th century. Earlier, it was common for that part to be sung by any female voice, or even a castrato. The current emphasis on a wide vocal range was primarily an invention of the Classical period. Before that, the vocal virtuosity, not range, was the priority, with soprano parts rarely extending above a high A (Handel, for example, only wrote one role extending to a high C), though the castrato Farinelli was alleged to possess a top D (his lower range was also extraordinary, extending to tenor C). The mezzo-soprano, a term of comparatively recent origin, also has a large repertoire, ranging from the female lead in Purcell's Dido and Aeneas to such heavyweight roles as Brangäne in Wagner's Tristan und Isolde (these are both roles sometimes sung by sopranos; there is quite a lot of movement between these two voice-types). For the true contralto, the range of parts is more limited, which has given rise to the insider joke that contraltos only sing "witches, bitches, and britches" roles. In recent years many of the "trouser roles" from the Baroque era, originally written for women, and those originally sung by castrati, have been reassigned to countertenors.

The tenor voice, from the Classical era onwards, has traditionally been assigned the role of male protagonist. Many of the most challenging tenor roles in the repertory were written during the bel canto era, such as Donizetti's sequence of 9 Cs above middle C during La fille du régiment. With Wagner came an emphasis on vocal heft for his protagonist roles, with this vocal category described as Heldentenor; this heroic voice had its more Italianate counterpart in such roles as Calaf in Puccini's Turandot. Basses have a long history in opera, having been used in opera seria in supporting roles, and sometimes for comic relief (as well as providing a contrast to the preponderance of high voices in this genre). The bass repertoire is wide and varied, stretching from the comedy of Leporello in Don Giovanni to the nobility of Wotan in Wagner's Ring Cycle. In between the bass and the tenor is the baritone, which also varies in weight from say, Guglielmo in Mozart's Così fan tutte to Posa in Verdi's Don Carlos; the actual designation "baritone" was not used until the mid-19th century.

Famous singers

, c. 1720]] Early performances of opera were too infrequent for singers to make a living exclusively from the style, but with the birth of commercial opera in the mid-17th century, professional performers began to emerge. The role of the male hero was usually entrusted to a castrato, and by the 18th century, when Italian opera was performed throughout Europe, leading castrati who possessed extraordinary vocal virtuosity, such as Senesino and Farinelli, became international stars. The career of the first major female star (or prima donna), Anna Renzi, dates to the mid-17th century. In the 18th century, a number of Italian sopranos gained international renown and often engaged in fierce rivalry, as was the case with Faustina Bordoni and Francesca Cuzzoni, who started a fist fight with one another during a performance of a Handel opera. The French disliked castrati, preferring their male heroes to be sung by a haute-contre (a high tenor), of which Joseph Legros was a leading example.

Though opera patronage has decreased in the last century in favor of other arts and media, such as musicals, cinema, radio, television and recordings, mass media and the advent of recording have supported the popularity of famous singers such as Maria Callas, Enrico Caruso, Kirsten Flagstad, Mario Del Monaco, Franco Corelli, Kathleen Ferrier, Montserrat Caballé, Joan Sutherland, Birgit Nilsson, Nellie Melba, Rosa Ponselle, Beniamino Gigli, Jussi Björling, Feodor Chaliapin, "The Three Tenors" (Luciano Pavarotti, Plácido Domingo, and José Carreras), and others.

Funding of opera

Outside the US, and especially in Europe, most opera houses receive public subsidies from taxpayers.

For example, in Milan, Italy, 60% of La Scala's annual budget of €115 million is from sales and private donations, with the remaining 40% coming from public funds. In 2005, La Scala received 25% of Italy's total state subsidy of €464 million for the performing arts.

Cinema

Major opera houses and production companies have begun broadcasting their performances to local cinemas throughout the United States and in many other countries. The Metropolitan Opera, first opened in 1883, began high-definition television transmissions in 2006. Many of its performances are also shown live in movie theaters around the world. In 2007, Met performances were shown in over 424 theaters in 350 U.S. cities. La bohème went out to 671 screens worldwide. The Met remains the only company that transmits all of its performances live, although in many cases this is only via radio broadcast. San Francisco Opera, founded in 1923, began prerecorded broadcasts in March 2008. As of June 2008, approximately 125 theaters in 117 U.S. cities carry the broadcast. Their distribution company, Bigger Picture, screens the operas with the same HD digital cinema projectors used for major Hollywood films. European opera houses and festivals such as La Scala in Milan, the Salzburg Festival, La Fenice in Venice and the Maggio Musicale in Florence have also broadcast their productions to 91 theaters in 90 U.S. cities since 2006. The emergence of the Internet is also seemingly affecting the way in which audiences consume opera. In a first for the genre, in 2009 British Opera house Glyndebourne made available online a full digital video download of Wagner’s Tristan und Isolde, filmed two years previously.

See also

  • Outline of opera
  • Dance
  • Orchestral enhancement
  • Persian opera
  • List articles

  • Glossary of musical terminology
  • List of opera companies
  • List of important operas – an annotated, chronological, selected list of operas which are included for their historical significance, widespread popularity, or both.
  • List of major opera composers – an annotated compilation of the most frequently named composers on ten lists published by opera experts.
  • List of opera genres
  • List of opera directors
  • List of opera festivals
  • List of opera houses
  • List of operas by title – an alphabetical list by title of operas with Wikipedia articles.
  • The opera corpus – an extended list of more than 1900 works by more than 500 composers.
  • Voice type, the classification of singers by the tessitura, weight, and timbre of their voices.
  • Notes

    References

  • Apel, Willi, ed. (1969). Harvard Dictionary of Music, Second Edition. Cambridge, Massachusetts: The Belknap Press of Harvard University Press. SBN 674375017.
  • Cooke, Mervyn (2005). The Cambridge Companion to Twentieth-Century Opera. Cambridge: Cambridge University Press. ISBN 0-521-78009-8. See also Google Books partial preview. Accessed 3 October 2009.
  • Silke Leopold, "The Idea of National Opera, c. 1800", United and Diversity in European Culture c. 1800, ed. Tim Blanning and Hagen Schulze (New York: Oxford University Press, 2006), 19–34.
  • The New Grove Dictionary of Opera, edited by Stanley Sadie (1992), 5,448 pages, is the best, and by far the largest, general reference in the English language. ISBN 0-333-73432-7 and ISBN 1-56159-228-5
  • The Viking Opera Guide (1994), 1,328 pages, ISBN 0-670-81292-7
  • The Oxford Illustrated History of Opera, ed. Roger Parker (1994)
  • The Oxford Dictionary of Opera, by John Warrack and Ewan West (1992), 782 pages, ISBN 0-19-869164-5
  • Opera, the Rough Guide, by Matthew Boyden et al. (1997), 672 pages, ISBN 1-85828-138-5
  • Opera: A Concise History, by Leslie Orrey and Rodney Milnes, World of Art, Thames & Hudson
  • Further reading

  • DiGaetani, John Louis: An Invitation to the Opera, Anchor Books, 1986/91. ISBN 0-385-26339-2.
  • MacMurray, Jessica M. and Allison Brewster Franzetti: The Book of 101 Opera Librettos: Complete Original Language Texts with English Translations, Black Dog & Leventhal Publishers, 1996. ISBN 9781884822797
  • Simon, Henry W.: A Treasury of Grand Opera, Simon and Schuster, New York, 1946.
  • External links

  • Operabase – Comprehensive opera performances database
  • StageAgent – synopses & character descriptions for most major operas
  • What's it about? - Opera plot summaries
  • Vocabulaire de l'Opéra
  • OperaGlass, a resource at Stanford University
  • HistoricOpera – historic operatic images
  • "America’s Opera Boom" By Jonathan Leaf, The American, July/August 2007 Issue
  • Opera~Opera article archives
  • Category:Opera history Category:Musical forms Category:Italian loanwords

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