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27:
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468:. Whereas earlier French comic operas had a mixture of sentiment and humour, Offenbach's works were intended solely to amuse. Though generally well crafted and full of humorous satire and grand opera parodies, plots and characters in his works were often interchangeable. Given the frenetic pace at which he worked, Offenbach sometimes used the same material in more than one opera. Another Frenchman who took up this form was
1320:), and the creators themselves wrote works in this style with other collaborators in the 1890s. None of these, however, had lasting popularity, leaving the Savoy Operas as practically the sole representatives of the genre surviving today. Only recently, some of these other English light operas have begun to be explored by scholars and to receive performances and recordings.
1165:
1447:, depending on whether they are performed in opera houses or in theaters. In addition, some recent American and British musicals make use of an operatic structure, for example, containing recurring motifs, and may even be sung through without dialogue. Those with orchestral scores are usually styled "musicals", while those played on
374:
306:
and even strong supporting orchestral parts, including a strong "stand-alone" overture (i.e., you could even enjoy the overture as an independent orchestral piece). Verdi was also enthusiastic because the music was by a southern
Italian and the text by a northerner, which appealed to Verdi's pan-Italian vision.
1159:
The stage was at a low ebb, Elizabethan glories and
Georgian artificialities had alike faded into the past, stilted tragedy and vulgar farce were all the would-be playgoer had to choose from, and the theatre had become a place of evil repute to the righteous British householder.... A first effort to
667:
in the 17th century, is rooted in popular
Spanish traditional musical theatre. It alternates between spoken and sung scenes, the latter incorporating dances, with chorus numbers and humorous scenes that are usually duets. These works are relatively short, and ticket prices were often low, to appeal
305:
the "first true
Italian comic opera" – that is to say, it had everything: it was in standard Italian and not in dialect; it was no longer simply an intermezzo, but rather an independent piece; it had a real story that people liked; it had dramatic variety; and, musically, it had strong melodies
732:("The Loveless Jungle, A Drama with Orchestra"). The instruments orchestra was hidden from the audience, the actors sang in harmony, and the musical composition itself was intended to evoke an emotional response. Some of these early pieces were lost, but
1190:(seven months after its French première) ignited the English appetite for light operas with more carefully crafted librettos and scores, and continental European operettas continued to be extremely popular in Britain in the 1860s and 1870s, including
257:
between acts of more serious works. Neapolitan and then
Italian comic opera grew into an independent form and became the most popular form of staged entertainment in Italy from about 1750 to 1800. In 1749, thirteen years after Pergolesi's death, his
1363:
in 1894, were styled "comic operas", but his later works were described as "musical extravaganza", "musical comedy", "musical play", "musical farce", and even "opera comique". His two most successful pieces, out of more than half a dozen hits, were
84:
The influence of the
Italian and French forms spread to other parts of Europe. Many countries developed their own genres of comic opera, incorporating the Italian and French models along with their own musical traditions. Examples include German
1143:, as well as bawdy, badly translated continental operettas, often including "ballets" featuring much prurient interest, and visiting the theatre became distasteful to the respectable public, especially women and children. Mr. and Mrs.
1356:
was one of the first to pick up the family-friendly style of light opera that
Gilbert and Sullivan had made popular, although his music was also influenced by the European operetta composers. His earliest pieces, starting with
1088:. This work was commissioned by the Bolshoi theatre and premiered on March 23, 2005. The staging of the opera was accompanied by juicy scandal; however it was an enormous success.
859:
1060:, and the creative collective "Kompozitor", which is a pseudonym for the well-known music critic Pyotr Pospelov. The libretto is by Elena Polenova, based on a folk-drama,
755:
returned to its roots in popular
Spanish tradition in works such as the sainetes (or Entr'actes) of Don RamĂłn de la Cruz. This author's first work in this genre was
167:. The opera has a farcical plot, and the characters of the ridiculous guardian Trespolo and the maid Despina are prototypes of characters widely used later in the
1443:
1338:
1532:
1275:, Carte formed a syndicate in 1877 to perform "light opera of a legitimate kind". Gilbert and Sullivan were commissioned to write a new comic opera,
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battled on at the Teatro de la
Zarzuela de Madrid, but with little success and light attendance. In spite of this, in 1873 a new theater, the
1435:
The line between light opera and other recent forms is difficult to draw. Several works are variously called operettas or musicals, such as
397:
857:, with music by an unknown composer, consisting of a selection of popular songs specified in the libretto. Another successful comic opera,
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1036:
The 21st century in
Russian comic opera began with the noisy premieres of two works whose genre could be described as "opera-farce":
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and Juan VĂ©lez, which premiered in 1672, survives and gives us some sense of what the genre was like in the 17th century.
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1578:
Comic Opera Guild site, includes light opera information about translations, orchestrations, festivals, recordings, etc.
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48:, is a sung dramatic work of a light or comic nature, usually with a happy ending and often including spoken dialogue.
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1231:, one of the impresarios aiming to establish an English school of family-friendly light opera by composers such as
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1147:, beginning in 1855, and a number of other Britons, deplored the risqué state of musical theatre and introduced
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188:(1718). At first written in Neapolitan dialect, these works became "Italianized" with the operas of Scarlatti,
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In late 17th-century Italy, light-hearted musical plays began to be offered as an alternative to weightier
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Thuleen, Nancy. "Serious and Comic Opera in Eighteenth-Century Italy." Website Article. 6 December 1991.
1411:, that explored more serious subjects and featured a tight integration among book, movement and lyrics.
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627:
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1271:. Eager to liberate the English stage from risqué French influences, and emboldened by the success of
1115:
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who composed more 30 opera-vaudevilles and 6 grand operas (most of them with spoken dialogue). Later,
794:, which shared the failures of the Teatro de la Zarzuela, until it was forced to change its program to
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designed to be more family-friendly and to elevate the intellectual level of musical entertainments.
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developed in 18th-century Vienna and spread throughout Austria and Germany. As in the French
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The Gilbert and Sullivan style was widely imitated by their contemporaries (for example, in
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916:("The Marriage"), which he left unfinished (they were completed only in the 20th century).
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French composers eagerly seized upon the Italian model and made it their own, calling it
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continued to perform Gilbert and Sullivan almost continuously until it closed in 1982.
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as a countermeasure to the continental operettas, commissioned Clay's collaborator,
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By the second half of the 19th century, the London musical stage was dominated by
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came to refer to any opera that included spoken dialogue, including works such as
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incorporated elements of the British and American light operas, with works like
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In the 20th century, the best examples of comic opera by Russian composers were
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first developed in late 17th-century Italy. By the 1730s, a new operatic genre,
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was performed for the first time on 11 July 1889 at Martin's Opera House in
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The genre was developed further in the first half of the 19th century by
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was an opera with spoken dialogue, and usually a comic subject, such as
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1518:
reprinted at The Gilbert and Sullivan Archive, accessed 7 November 2009
1110:, typically a comic play that incorporated songs set to popular tunes.
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134:
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19:
This article is about the musical genre. For Robert Wyatt album, see
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also wrote a series of successful comic operas in the 18th century.
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1163:
1068:, St Petersburg. Prize "Gold Mask, 2002" and "Gold Soffit, 2002".
951:
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In the 19th century, Russian comic opera was further developed by
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52:
25:
420:. Although originally reserved for less serious works, the term
1263:
partnership. "Mr. R. D'Oyly Carte's Opera Bouffe Company" took
700:–1950), which can be further divided into the two subgenres of
547:(1821), retained the form, but explored more serious subjects.
987:(1927–1928, staged 1930). Simultaneously, the genres of
820:. It was followed by the comic operas of other Italians, like
1267:
on tour, playing it alongside French works by Offenbach and
1422:
composed in the Gilbert and Sullivan style of light opera.
743:
In the 18th century, the Italian operatic style influenced
1289:, which Carte later built for these works) that included
810:, in 1731, was a comic opera (or "commedia per musica"),
1160:
bridge the gap was made by the German Reed Entertainers.
1048:. A collective project of five authors wrote the work:
341:(1843), but declined in the mid-19th century, despite
1554:
at the Musical Theatre Guide, accessed 4 January 2009
860:
The miller who was a wizard, a cheat and a matchmaker
668:
to the general public. There are two main forms of
67:. It quickly made its way to France, where it became
1502:
at the stagebeauty website, accessed 4 January 2009
1281:, starting the series that came to be known as the
262:swept Italy and France, evoking the praise of such
253:At first, comic operas were generally presented as
1064:, and the work premiered on June 20, 2001, at the
759:("The Reapers of Vallecas", 1768), with music by
1184:Nevertheless, an 1867 production of Offenbach's
1106:England traces its light opera tradition to the
747:. But beginning with the reign of Bourbon King
1214:collaborated with several composers, including
442:that are not "comic" in any sense of the word.
1474:at Theatrehistory.com, accessed 4 January 2009
1307:, which became popular around the world. The
1132:, was expressly described as "a comic opera".
1056:, Iraida Yusupova and Vladimir Nikolayev from
1540:Who Was Who in the D'Oyly Carte Opera Company
1486:, Mary S. Van Deusen, accessed 4 January 2009
8:
1379:Others who wrote in a similar vein included
1202:and others into the 1880s, often adapted by
1119:was the earliest and most popular of these.
283:to a text by the great Venetian playwright,
238:, 1792), and then the great comic operas of
73:, and eventually, in the following century,
31:
716:was the first playwright to adopt the term
464:quickly surpassed him, writing over ninety
1324:North American operetta and musical comedy
774:(the "little genre" or "little form") and
1494:
1492:
562:is remembered mainly for his overtures.
392:. Early proponents included the Italian
377:Poster for a 19th-century production of
1464:
81:as its most accomplished practitioner.
16:Sung drama of a light or comedic nature
1003:, were developed by such composers as
448:is credited as the inventor of French
751:, anti-Italian sentiment increased.
730:La selva sin amor, drama con orquesta
147:(17th-century Italian opera based on
7:
1243:, and the promising young composer,
977:(1940–1941, staged 1946), and
605:After the turn of the 20th century,
1573:Vor.ru essay on Russian comic opera
724:("The Gulf of the Sirens", 1657).
847:The first Russian comic opera was
736:("Jealousies Turn Into Stars") by
30:Poster for original production of
14:
1011:, Dmitri Shostakovich (Opus 105:
782:(the "big genre" or "big form").
1052:and Vyacheslav Gaivoronsky from
867:(1779), on a subject resembling
853:(1772). The text was written by
686:–1750), the earliest style, and
566:, the "waltz king", contributed
1187:The Grand Duchess of Gerolstein
1017:, operetta in 3 acts, (1958)),
101:, Russian comic opera, English
61:, emerged as an alternative to
1513:Introduction to Jessie Bond's
1092:English ballad and Savoy opera
174:The form began to flourish in
109:, North American operetta and
1:
1046:A frightful opera performance
806:The first opera presented in
694:
680:
582:a long-time conductor at the
516:Die EntfĂĽhrung aus dem Serail
460:. Working on the same model,
1500:"The Origins of Comic Opera"
904:worked on two comic operas,
625:("A Waltz Dream", 1907) and
1259:; its success launched the
1121:Richard Brinsley Sheridan's
1080:), an opera in two acts by
778:of three or more acts were
1628:
1327:
1309:D'Oyly Carte Opera Company
1095:
968:The Love for Three Oranges
816:, by an Italian composer,
714:Pedro CalderĂłn de la Barca
651:
483:
362:
297:(1740). Many years later,
294:Pamela, or Virtue Rewarded
291:'s popular English novel,
161:was an early precursor of
123:
18:
1542:, accessed 4 January 2009
1193:Les Cloches de Corneville
1073:The Children of Rosenthal
757:Las segadoras de Vallecas
734:Los celos hacen estrellas
728:soon wrote a work titled
410:François-Adrien Boïeldieu
402:Pierre-Alexandre Monsigny
380:Orpheus in the Underworld
287:. That text was based on
34:Les cloches de Corneville
1420:George Frederick Cameron
1416:Oscar Ferdinand Telgmann
1269:Alexandre Charles Lecocq
1128:(1775), with a score by
974:Betrothal in a Monastery
818:Giovanni Alberto Ristori
1395:. The modern American
1298:The Pirates of Penzance
928:Nikolai Rimsky-Korsakov
907:The Fair at Sorochyntsi
722:El golfo de las sirenas
398:François-André Philidor
205:Il filosofo di campagna
1529:"Richard D'Oyly Carte"
1449:electronic instruments
1352:In the United States,
1349:
1181:
1162:
720:for his work entitled
558:and the French model.
554:was built on both the
383:
138:
38:
32:
1342:A "toy soldier" from
1341:
1167:
1157:
1084:, with a libretto by
920:wrote a comic opera,
628:The Chocolate Soldier
480:and Viennese operetta
414:Daniel François Auber
376:
316:The Barber of Seville
313:in his works such as
235:Il matrimonio segreto
185:Il trionfo dell'onore
133:
44:, sometimes known as
29:
1425:Leo, the Royal Cadet
1261:Gilbert and Sullivan
1229:Richard D'Oyly Carte
1014:Moscow, Cheryomushki
936:1878–1879 and
264:French Enlightenment
180:Alessandro Scarlatti
159:Alessandro Stradella
979:Dmitri Shostakovich
958:The Rake's Progress
939:The Golden Cockerel
877:, is attributed to
865:Alexander Ablesimov
802:Russian comic opera
770:were classified as
584:Theater an der Wien
277:wrote the music to
149:classical mythology
1535:2006-09-01 at the
1350:
1253:. The result was
1182:
1179:souvenir programme
1149:short comic operas
1145:Thomas German Reed
1116:The Beggar's Opera
1082:Leonid Desyatnikov
1050:Leonid Desyatnikov
879:Mikhail Sokolovsky
638:Die Csárdásfürstin
384:
154:Il Trespolo tutore
139:
39:
1612:Opera terminology
1451:are often styled
1430:Kingston, Ontario
1385:John Philip Sousa
1381:Reginald de Koven
1141:musical burlesque
1066:Mariinski Theatre
1031:Alexander Zhurbin
1019:Tikhon Khrennikov
1009:Dmitri Kabalevsky
942:1906–1907.
918:Pyotr Tchaikovsky
902:Modest Mussorgsky
898:Alexey Verstovsky
887:Vasily Pashkevich
790:, was opened for
761:RodrĂguez de Hita
600:Der arme Jonathan
589:Der Bettelstudent
564:Johann Strauss II
552:Viennese operetta
462:Jacques Offenbach
327:Gaetano Donizetti
311:Gioachino Rossini
289:Samuel Richardson
137:, circa 1810–1815
93:Viennese operetta
79:Jacques Offenbach
1619:
1555:
1552:"Victor Herbert"
1549:
1543:
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1373:Naughty Marietta
1367:Babes in Toyland
1345:Babes in Toyland
1086:Vladimir Sorokin
1062:Tsar Maksimilyan
1005:Isaak Dunayevsky
963:Sergey Prokofiev
891:Yevstigney Fomin
699:
696:
685:
682:
663:, introduced in
351:staged in 1893.
332:L'elisir d'amore
275:Niccolò Piccinni
260:La serva padrona
195:La serva padrona
37:
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1616:
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1537:Wayback Machine
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1408:West Side Story
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1285:(named for the
1245:Arthur Sullivan
1216:Arthur Sullivan
1171:H.M.S. Pinafore
1104:
1094:
1027:Alexey Rybnikov
1023:Gennady Gladkov
1021:, and later by
947:Igor Stravinsky
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792:zarzuela grande
784:Zarzuela grande
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633:Emmerich Kálmán
622:Ein Walzertraum
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560:Franz von Suppé
522:The Magic Flute
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569:Die Fledermaus
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525:(1791). Later
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845:
843:
839:
835:
831:
827:
823:
819:
815:
814:
809:
801:
799:
797:
793:
789:
785:
781:
780:género grande
777:
773:
769:
764:
762:
758:
754:
750:
746:
741:
739:
735:
731:
727:
723:
719:
715:
711:
709:
708:
703:
702:género grande
692:
689:
678:
675:
671:
666:
662:
661:
655:
648:
644:
642:
640:
639:
634:
630:
629:
624:
623:
618:
614:
613:
608:
603:
601:
597:
596:
591:
590:
585:
581:
577:
576:
571:
570:
565:
561:
557:
553:
550:19th century
548:
546:
545:
541:
537:
536:
532:
528:
524:
523:
518:
517:
513:
509:
505:
504:
503:opéra comique
499:
498:
491:
487:
479:
475:
473:
471:
467:
463:
459:
458:
453:
452:
447:
443:
441:
440:
436:
432:
431:
427:
423:
422:opéra comique
419:
415:
411:
407:
403:
399:
395:
391:
390:
389:opéra comique
382:
381:
375:
370:
366:
365:Opéra comique
358:
357:opéra comique
354:
352:
350:
349:
344:
340:
339:
334:
333:
328:
324:
323:
318:
317:
312:
307:
304:
300:
296:
295:
290:
286:
285:Carlo Goldoni
282:
281:
276:
271:
269:
265:
261:
256:
251:
249:
245:
241:
237:
236:
231:
227:
226:
221:
217:
216:
211:
207:
206:
201:
197:
196:
191:
187:
186:
181:
177:
172:
170:
166:
165:
160:
156:
155:
150:
146:
145:
136:
132:
127:
120:
116:
114:
112:
108:
104:
100:
99:
94:
90:
89:
82:
80:
76:
72:
71:
70:opéra comique
66:
65:
60:
59:
54:
49:
47:
43:
36:
35:
28:
22:
1607:Opera genres
1584:
1547:
1539:
1523:
1514:
1507:
1484:"The Duenna"
1479:
1467:
1444:Sweeney Todd
1442:
1436:
1434:
1423:
1413:
1406:
1400:
1393:Rudolf Friml
1378:
1371:
1365:
1358:
1351:
1343:
1315:
1313:
1302:
1296:
1290:
1283:Savoy operas
1278:The Sorcerer
1276:
1272:
1264:
1254:
1250:La PĂ©richole
1248:
1226:
1219:
1208:Robert Reece
1204:H. B. Farnie
1197:
1191:
1185:
1183:
1169:
1158:
1134:
1123:
1114:
1108:ballad opera
1105:
1098:Ballad opera
1077:
1071:
1070:
1061:
1045:
1041:
1037:
1035:
1012:
982:
972:
966:
956:
950:
944:
937:
931:
921:
911:
905:
895:
872:
858:
848:
846:
811:
805:
796:género chico
795:
791:
788:Teatro Apolo
783:
779:
775:
772:género chico
771:
767:
765:
756:
752:
744:
742:
738:Juan Hidalgo
733:
729:
726:Lope de Vega
721:
717:
712:
707:género chico
705:
701:
690:
676:
669:
658:
657:
646:
636:
631:(1908); and
626:
620:
617:Oscar Straus
610:
604:
599:
593:
587:
573:
567:
555:
549:
542:
533:
526:
520:
514:
507:
501:
495:
493:
477:
455:
451:opéra bouffe
449:
444:
437:
428:
421:
418:Adolphe Adam
406:André Grétry
387:
385:
378:
359:and operetta
356:
346:
338:Don Pasquale
336:
330:
320:
314:
308:
302:
292:
278:
272:
259:
252:
242:and, later,
233:
223:
213:
203:
193:
183:
173:
168:
162:
152:
142:
140:
118:
96:
86:
83:
68:
62:
56:
50:
45:
41:
40:
1583:History of
1472:Operette001
1453:rock operas
1414:In Canada,
1370:(1903) and
1221:Cox and Box
1168:Scene from
1153:Jessie Bond
1102:Savoy opera
1042:Царь Демьян
1038:Tsar Demyan
989:light music
971:(1919) and
955:(1922) and
923:Cherevichki
832:, and also
766:Single act
749:Charles III
698: 1850
684: 1630
607:Franz Lehár
598:(1884) and
572:(1874) and
538:(1805) and
531:Beethoven's
519:(1782) and
426:Cherubini's
394:Egidio Duni
335:(1832) and
319:(1816) and
303:La Cecchina
280:La Cecchina
266:figures as
215:La Cecchina
169:opera buffa
164:opera buffa
144:opera seria
126:Opera buffa
119:opera buffa
107:Savoy opera
64:opera seria
58:opera buffa
46:light opera
42:Comic opera
1596:Categories
1328:See also:
1304:The Mikado
1125:The Duenna
1112:John Gay's
1096:See also:
1044:) –
1001:rock opera
863:, text by
652:See also:
529:, such as
527:singspiels
484:See also:
363:See also:
255:intermezzi
157:(1679) by
124:See also:
95:, Spanish
21:Comicopera
1402:Show Boat
1227:In 1875,
1137:pantomime
933:May Night
930:composed
840:composer
826:Paisiello
776:zarzuelas
768:zarzuelas
635:composed
619:supplied
595:Gasparone
578:(1885).
556:singspiel
508:singspiel
497:singspiel
486:Singspiel
478:singspiel
466:operettas
273:In 1760,
248:Donizetti
228:, 1789),
220:Paisiello
218:, 1760),
208:, 1754),
198:, 1733),
190:Pergolesi
88:singspiel
1585:Zarzuela
1533:Archived
1376:(1910).
1330:Operetta
993:operetta
984:The Nose
961:(1951),
926:(1885).
913:Zhenitba
869:Rousseau
830:Cimarosa
813:Calandro
753:Zarzuela
745:zarzuela
718:zarzuela
691:zarzuela
688:Romantic
677:zarzuela
670:zarzuela
660:Zarzuela
654:Zarzuela
647:zarzuela
645:Spanish
641:(1915).
615:(1905);
602:(1890).
592:(1882),
512:Mozart's
490:Operetta
457:opérette
369:Operetta
348:Falstaff
268:Rousseau
230:Cimarosa
210:Piccinni
117:Italian
98:zarzuela
1438:Candide
1397:musical
1317:Dorothy
1174:, 1886
1155:wrote,
834:Belgian
822:Galuppi
674:Baroque
540:Weber's
535:Fidelio
476:German
435:Bizet's
355:French
301:called
244:Rossini
200:Galuppi
171:genre.
135:Rossini
77:, with
1602:Comedy
1348:, 1903
1058:Moscow
850:Anyuta
842:Grétry
838:French
808:Russia
609:wrote
506:, the
439:Carmen
240:Mozart
176:Naples
103:ballad
1459:Notes
1265:Trial
952:Mavra
874:Devin
665:Spain
454:, or
430:Médée
299:Verdi
178:with
53:opera
1441:and
1418:and
1405:and
1391:and
1332:and
1301:and
1235:and
1206:and
1139:and
1100:and
1029:and
910:and
889:and
828:and
704:and
494:The
488:and
433:and
416:and
367:and
246:and
225:Nina
105:and
1218:in
1210:.
981:'s
965:'s
949:'s
871:'s
345:'s
329:in
182:'s
151:).
1598::
1531:,
1491:^
1455:.
1432:.
1387:,
1383:,
1295:,
1196:,
1033:.
1025:,
1007:,
995:,
991:,
885:,
881:.
844:.
824:,
798:.
763:.
710:.
695:c.
681:c.
672::
472:.
412:,
408:,
404:,
400:,
396:,
270:.
250:.
113:.
91:,
1076:(
1040:(
836:/
693:(
679:(
232:(
222:(
212:(
202:(
192:(
23:.
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