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Chapter 19

Chapter 19 Study Guide


Department
Music and Culture
Course Code
VPMA99H3
Professor
Andy Lee
Chapter
19

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Chapter 19 Opera and Music Drama in the Nineteenth Century
Prelude
-national styles in opera
-subjects and settings vary widely
-from grand historical epics to folktales
-from plots with strong political overtones to stories that center on private emotions and personal
relationship
-librettists cast middle-class characters in work
-French grand opera was as much spectacle as music
-infuse with Romantic elements, such as rescue plots and huge choral scenes
-Italian opera
-composers include Rossini, Donizetti, Bellini
-Richard Wagner developed music drama
-fusion of music , poetry, and theatre
French Grand (and Not So Grand) Opera
-French Grand Opera
-mix of spectacle and historical, political, or religious themes
-elaborate stage machinery, ballets, choruses, and crowd scenes
-cater to middle class by painting aristocrats as wicked and opponents as cirtuous
Opera comique
-spoken dialogue instead of recitative
-less pretentious than grand opera
-required fewer singers and players
-plot presents straightforward comedy or semi-serious drama instead of historical pageantry
typical of grand opera
Lyric opera
-subject matter is romantic drama/ fantasy
-appealing melody
Bizet’s Carmen
-move toward realism
-opera comique because it contains spoken dialogue
-rejection of sentimental/ mythological plot
-a move toward realism, drama ends with a tragic murder
-Spanish setting and Spanish rhythms and tunes
-exoticism
-Carmen is a seductive Gypsy who works in a cigarette factory
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