1.
Opera
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Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. In traditional opera, singers do two types of singing, recitative, a style and arias, a more melodic style. Opera incorporates many of the elements of theatre, such as acting, scenery. The performance is given in an opera house, accompanied by an orchestra or smaller musical ensemble. Opera is a key part of the Western classical music tradition, in the 18th century, Italian opera continued to dominate most of Europe, attracting foreign composers such as George Frideric Handel. Opera seria was the most prestigious form of Italian opera, until Christoph Willibald Gluck reacted against its artificiality with his operas in the 1760s. The first third of the 19th century saw the point of the bel canto style, with Gioachino Rossini, Gaetano Donizetti. It also saw the advent of Grand Opera typified by the works of Auber and Meyerbeer, the mid-to-late 19th century was a golden age of opera, led and dominated by Richard Wagner in Germany and Giuseppe Verdi in Italy. The popularity of opera continued through the era in Italy and contemporary French opera through to Giacomo Puccini. During the 19th century, parallel operatic traditions emerged in central and eastern Europe, the 20th century saw many experiments with modern styles, such as atonality and serialism, Neoclassicism, and Minimalism. With the rise of recording technology, singers such as Enrico Caruso, since the invention of radio and television, operas were also performed on these mediums. Beginning in 2006, a number of opera houses began to present live high-definition video transmissions of their performances in cinemas all over the world. In 2009, an opera company offered a download of a complete performance. The words of an opera are known as the libretto, some composers, notably Wagner, have written their own libretti, others have worked in close collaboration with their librettists, e. g. Mozart with Lorenzo Da Ponte. Vocal duets, trios and other ensembles often occur, and choruses are used to comment on the action, in some forms of opera, such as singspiel, opéra comique, operetta, and semi-opera, the recitative is mostly replaced by spoken dialogue. Melodic or semi-melodic passages occurring in the midst of, or instead of, the terminology of the various kinds of operatic voices is described in detail below. Over the 18th century, arias were accompanied by the orchestra. Subsequent composers have tended to follow Wagners example, though some, the changing role of the orchestra in opera is described in more detail below
2.
Operetta
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Operetta is a genre of light opera, light in terms both of music and subject matter. By this time, the part of the genre name had become misleading. With this new connotation, opéra comique had dominated the French operatic stage since the decline of tragédie lyrique, most researchers acknowledge that the credit for creating the operetta form should go to Hervé, a singer, composer, librettist, conductor, and scene painter. In 1842 he wrote the little opérette, LOurs et le pacha, based on the vaudeville show by Scribe. In 1848, Hervé made his first notable appearance on the Parisian stage, with Don Quichotte et Sancho Pança, hervés most famous works are the Gounod-parody Le Petit Faust and Mamzelle Nitouche. Jacques Offenbach further developed and popularized operetta, giving it its enormous vogue during the Second Empire, Offenbachs earliest one-act pieces included Les deux aveugles, Le violoneux and Ba-ta-clan, and his first full-length operetta success was Orphée aux enfers. Offenbachs tradition was carried on by Robert Planquette, André Messager. What characterizes Offenbachs operettas is both the way they portray life, and the extremely frivolous way this is done. The character was modeled after Offenbachs female star Hortense Schneider. Considering how Zolas Nana describes an Offenbach-style operetta performance in Paris, it is not surprising that the mostly male, upper-class audiences in other cities like Vienna and Berlin longed to see these shows in their home towns as well, which inspired worldwide performance of Offenbachs works. The highly erotic way Offenbachs operettas were originally played, with stars like Hortense Schneider created a reaction from certain parts of the general public. Operetta was considered an art form. Indeed, together with its grotesque qualities, frivolity is one of the elements of authentic operetta à la Offenbach. It was only later, when audiences widened and became more middle and lower class, the most significant composer of operetta in the German language was the Austrian Johann Strauss II. His first operetta was Indigo und die vierzig Räuber and his third operetta, Die Fledermaus, became the most performed operetta in the world, and remains his most popular stage work. Its libretto was based on a written by Offenbachs librettists. In all, Strauss wrote 16 operettas and one opera, most with great success when first premiered, many of his lesser operettas are now largely forgotten, since his later librettists were less talented and he often composed independently of the plot. Strausss operettas, waltzes, polkas, and marches often have a strongly Viennese style, the Theater an der Wien never failed to draw huge crowds when his stage works were first performed
3.
Musical theatre
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Musical theatre is a form of theatrical performance that combines songs, spoken dialogue, acting, and dance. The story and emotional content of a musical – humor, pathos, love, anger – are communicated through the words, music, movement, since the early 20th century, musical theatre stage works have generally been called, simply, musicals. These were followed by the numerous Edwardian musical comedies and the theatre works of American creators like George M. Cohan. Musicals are performed around the world and they may be presented in large venues, such as big-budget Broadway or West End productions in New York City or London. Alternatively, musicals may be staged in smaller fringe theatre, Off-Broadway or regional theatre productions, musicals are often presented by amateur and school groups in churches, schools and other performance spaces. In addition to the United States and Britain, there are vibrant musical theatre scenes in continental Europe, Asia, Australasia, Canada, the three main components of a book musical are its music, lyrics and book. The interpretation of a musical is the responsibility of its team, which includes a director. A musicals production is also characterized by technical aspects, such as set design, costumes, stage properties, lighting. The creative team, designs and interpretations generally change from the production to succeeding productions. Some production elements, however, may be retained from the production, for example. There is no fixed length for a musical, while it can range from a short one-act entertainment to several acts and several hours in length, most musicals range from one and a half to three hours. Musicals are usually presented in two acts, with one intermission, and the first act is frequently longer than the second. A book musical is usually built four to six main theme tunes that are reprised later in the show. Several shorter musicals on Broadway and in the West End have been presented in one act in recent decades, moments of greatest dramatic intensity in a book musical are often performed in song. Proverbially, when the emotion becomes too strong for speech, you sing, typically, many fewer words are sung in a five-minute song than are spoken in a five-minute block of dialogue. Therefore, there is time to develop drama in a musical than in a straight play of equivalent length. Within the compressed nature of a musical, the writers must develop the characters, the material presented in a musical may be original, or it may be adapted from novels, plays, classic legends, historical events or films. On the other hand, many musical theatre works have been adapted for musical films, such as West Side Story, My Fair Lady, The Sound of Music, Oliver
4.
Mass (liturgy)
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Mass often refers to the entire church service in general, but is specifically the sacrament of the Eucharist. The term mass is called in the Catholic Church, Western Rite Orthodox churches and many Old Catholic, Anglican, as well as some Lutheran churches. Some Protestants employ terms such as Divine Service or service of worship, the English noun mass is derived from Middle Latin missa. The Latin word was adopted in Old English as mæsse, and was sometimes glossed as sendnes, the Latin term missa itself was in use by the 6th century. It is most likely derived from the concluding formula Ite, missa est, historically, however, there have been other explanations of the noun missa, i. e. as not derived from the formula ite, missa est. Already Du Cange reports various opinions on the origin of the noun missa mass, including the derivation from Hebrew matzah, here attributed to Caesar Baronius. The Hebrew derivation is learned speculation from 16th-century philology, medieval authorities did derive the noun missa from the verb mittere, but not in connection with the formula ite, missa est. Thus, De divinis officiis explains the word as a mittendo, quod nos mittat ad Deo, the Catholic Church sees the Mass or Eucharist as the source and summit of the Christian life, to which the other sacraments are oriented. The Catholic Church believes that the Mass is exactly the same sacrifice that Jesus Christ offered on the Cross at Calvary, after making the sign of the cross and greeting the people liturgically, he begins the Act of Penitence. This concludes with the prayer of absolution, which, however. The Kyrie, eleison, is sung or said, followed by the Gloria in excelsis Deo, the Introductory Rites are brought to a close by the Collect Prayer. On Sundays and solemnities, three Scripture readings are given, on other days there are only two. If there are three readings, the first is from the Old Testament, or the Acts of the Apostles during Eastertide, the first reading is followed by a psalm, either sung responsorially or recited. The second reading is from the New Testament, typically one of the Pauline epistles. A Gospel Acclamation is then sung as the Book of the Gospels is processed, sometimes with incense and candles, the final reading and high point of the Liturgy of the Word is the proclamation of the Gospel by the deacon or priest. At least on Sundays and Holy Days of Obligation, a homily, finally, the Creed is professed on Sundays and solemnities, and it is desirable that in Masses celebrated with the people the Universal Prayer or Prayer of the Faithful should usually follow. The congregation responds, May the Lord accept the sacrifice at your hands, for the praise and glory of his name, for our good, the priest then pronounces the variable prayer over the gifts. The Eucharistic Prayer, the centre and high point of the entire celebration, the priest continues with one of many Eucharistic Prayer thanksgiving prefaces, which lead to the reciting of the Sanctus acclamation
5.
Requiem
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It is frequently, but not necessarily, celebrated in the context of a funeral. The term is used for similar ceremonies outside the Roman Catholic Church, especially in the Anglo-Catholic tradition of Anglicanism. A comparable service, with a different ritual form and texts, exists in the Eastern Orthodox and Eastern Catholic Churches. The Mass and its settings draw their name from the introit of the liturgy, the Roman Missal as revised in 1970 employs this phrase as the first entrance antiphon among the formulas for Masses for the dead, and it remains in use to this day. In earlier forms of the Roman Rite, some of which are still in use, some parts that were of relatively recent origin, including some that have been excluded in the 1970 revision, are omitted. Examples are the psalm Iudica at the start of Mass, the prayer said by the priest before reading the Gospel, and the first of the two prayers of the priest for himself before receiving Communion. Other omissions include the use of incense at the Introit and the Gospel, the kiss of peace, lit candles held by acolytes when a deacon chants the Gospel, and blessings. There is no Gloria in excelsis Deo and no recitation of the Creed, the Alleluia chant before the Gospel is replaced by a Tract, as in Lent, ite missa est is replaced with Requiescant in pace, the Deo gratias response is replaced with Amen. The sequence Dies Irae, recited or sung between the Tract and the Gospel, is an part of the Requiem Mass in the earlier forms. As its opening words Dies irae indicate, this poetic composition speaks of the Day of Judgment in fearsome terms, it then appeals to Jesus for mercy. In the liturgical reforms of the century in the Roman Catholic Church following the Second Vatican Council. The term Requiem Mass was often replaced by the term Mass of the Resurrection or Mass of Christian Burial, in the official English ritual, Order of Christian Funerals, published by the Roman Catholic Bishops of England and Wales in 1990, the title is given as Funeral Mass. Requiem Mass remains a title for other Masses for the dead and for the Funeral Mass itself. The texts used for the service offered a change, with more options for the readings. The full requiem will last around three-and-a-half hours, in this format it more clearly represents the original concept of parastas, which means literally, standing throughout. Often, there will be a Divine Liturgy celebrated the next morning with further propers for the departed, because of their great length, a full Requiem is rarely served. However, at least in the Russian liturgical tradition, a Requiem will often be served on the eve before the Glorification of a saint, the Book of Common Prayer contained no Requiem Mass, but instead a service named The Order for the Burial of the Dead. Since the liturgical movement, provision has been made for a Eucharist to be celebrated at a funeral in various BCPs used in the 33 Provinces of the Anglican Communion
6.
Ballet
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Ballet /ˈbæleɪ/ is a type of performance dance that originated in the Italian Renaissance courts of the 15th century and later developed into a concert dance form in France and Russia. It has since become a widespread, highly technical form of dance with its own based on French terminology. It has been influential and has defined the foundational techniques used in many other dance genres. Becoming a ballet dancer requires years of training, Ballet has been taught in various schools around the world, which have historically incorporated their own cultures to evolve the art. Ballet may also refer to a dance work, which consists of the choreography. A well-known example of this is The Nutcracker, a ballet that was originally choreographed by Marius Petipa. Ballets are choreographed and performed by trained artists, the word came into English usage from the French around 1630. Ballet originated in the Italian Renaissance courts of the 15th and 16th centuries before being spread from Italy to France by an Italian aristocrat, Catherine de Medici, in France, ballet developed even further under her aristocratic influence. The dancers in these early court ballets were mostly noble amateurs, Ballets in this period were lengthy and elaborate and often served a political purpose. Ornamented costumes were meant to impress viewers and restricted freedom of movement. The ballets were performed in large chambers with viewers on three sides, French court ballet reached its height under the reign of King Louis XIV. Known as the Sun King, Louis symbolized the brilliance of France, in 1661 Louis founded the Académie Royale de Danse to establish standards and certify dance instructors. In 1672, Louis XIV made Jean-Baptiste Lully the director of the Académie Royale de Musique from which the first professional ballet company, Lully is considered the most important composer of music for ballets de cour and instrumental to the development of the form. Ballet went into decline in France after 1830, though it continued to develop in Denmark, Italy, the arrival in Europe on the eve of First World War of the Ballets Russes of Sergei Diaghilev, revived interest in the ballet and started the modern era. The Russian choreographer Michel Fokine challenged tradition and called for reforms that reinvigorated ballet as an art form, in the 20th century, ballet had a wide influence on other dance genres, and subgenres of ballet have also evolved. In the United States, choreographer George Balanchine developed what is now known as neoclassical ballet, other developments include contemporary ballet and post-structural ballet. Also in the century, ballet took a turn dividing it from classical ballet to the introduction of modern dance. Stylistic variations have emerged and evolved since the Italian Renaissance, early, classical variations are primarily associated with geographic origin
7.
Composer
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A composer is a person who creates or writes music, which can be vocal music, instrumental music or music which combines both instruments and voices. The core meaning of the term refers to individuals who have contributed to the tradition of Western classical music through creation of works expressed in written musical notation, many composers are also skilled performers, either as singers, instrumentalists, and/or conductors. Examples of composers who are well known for their ability as performers include J. S. Bach, Mozart. In many popular genres, such as rock and country. For a singer or instrumental performer, the process of deciding how to perform music that has previously composed and notated is termed interpretation. Different performers interpretations of the work of music can vary widely, in terms of the tempos that are chosen. Composers and songwriters who present their own music are interpreting, just as much as those who perform the music of others, although a musical composition often has a single author, this is not always the case. A piece of music can also be composed with words, images, or, in the 20th and 21st century, a culture eventually developed whereby faithfulness to the composers written intention came to be highly valued. This musical culture is almost certainly related to the esteem in which the leading classical composers are often held by performers. The movement might be considered a way of creating greater faithfulness to the original in works composed at a time that expected performers to improvise. In Classical music, the composer typically orchestrates her own compositions, in some cases, a pop songwriter may not use notation at all, and instead compose the song in her mind and then play or record it from memory. In jazz and popular music, notable recordings by influential performers are given the weight that written scores play in classical music. The level of distinction between composers and other musicians varies, which issues such as copyright and the deference given to individual interpretations of a particular piece of music. In the development of European classical music, the function of composing music initially did not have greater importance than that of performing it. The preservation of individual compositions did not receive attention and musicians generally had no qualms about modifying compositions for performance. In as much as the role of the composer in western art music has seen continued solidification, for instance, in certain contexts the line between composer and performer, sound designer, arranger, producer, and other roles, can be quite blurred. The term composer is often used to refer to composers of music, such as those found in classical, jazz or other forms of art. In popular and folk music, the composer is usually called a songwriter and this is distinct from a 19th-century conception of instrumental composition, where the work was represented solely by a musical score to be interpreted by performers
8.
Cavalleria rusticana
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Cavalleria rusticana is an opera in one act by Pietro Mascagni to an Italian libretto by Giovanni Targioni-Tozzetti and Guido Menasci, adapted from a play and short story written by Giovanni Verga. Considered one of the classic verismo operas, it premiered on 17 May 1890 at the Teatro Costanzi in Rome, since 1893, it has often been performed in a so-called Cav/Pag double-bill with Pagliacci by Ruggero Leoncavallo. In July 1888 the Milanese music publisher Edoardo Sonzogno announced an open to all young Italian composers who had not yet had an opera performed on stage. They were invited to submit a one-act opera, which would be judged by a jury of five prominent Italian critics, the best three would be staged in Rome at Sonzognos expense. Targioni-Tozzetti chose Cavalleria rusticana, a short story by Giovanni Verga. He and his colleague Guido Menasci set about composing the libretto, sending it to Mascagni in fragments, the opera was finally submitted on the last day that entries would be accepted. In all,73 operas were submitted, and on 5 March 1890, there have been two other operas based on Vergas story. The first, Mala Pasqua. by Stanislao Gastaldon, was entered in the competition as Mascagnis. However, Gastaldon withdrew it when he received an opportunity to have it performed at the Teatro Costanzi, in the 1907 Sonzogno competition, Domenico Monleone submitted an opera based on the story, and likewise called Cavalleria rusticana. The opera was not successful in the competition, but premiered later that year in Amsterdam and went on to a tour throughout Europe. Sonzogno, wishing to protect the property which Mascagnis version had become, took legal action. Monleone changed the opera ‘beyond recognition’, setting the music to a new libretto, in this form it was presented as La giostra dei falchi in 1914. Cavalleria rusticana opened on the evening of 19 May 1890 at the Teatro Costanzi in Rome to an empty house. However, the audience included not only the most authoritative music critics in the country but also Queen Margherita and it was a success from its opening notes. Following Stagnos rendition of the Siciliana behind the curtain the audience leaped to their feet with a thunderous applause not heard for many years, the number was encored as were a number of other numbers in the opera. It was a sensation, with Mascagni taking 40 curtain calls, although Mascagni had started writing two other operas earlier, Cavalleria rusticana was his first opera to be completed and performed. It remains the best known of his fifteen operas and one operetta, apart from Cavalleria rusticana, only Iris and Lamico Fritz have remained in the standard repertory, with Isabeau and Il piccolo Marat on the fringes of the Italian repertoire. Its success has been ever since its first performance
9.
Pietro Mascagni
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Pietro Antonio Stefano Mascagni was an Italian composer most noted for his operas. His 1890 masterpiece Cavalleria Rusticana caused one of the greatest sensations in opera history, Mascagni said that at one point, Iris was performed in Italy more often than Cavalleria. Mascagni wrote fifteen operas, an operetta, several orchestral and vocal works, as well as songs and he enjoyed immense success during his lifetime, both as a composer and conductor of his own and other peoples music. Mascagni was born in Livorno, Tuscany, the son of Domenico. His father owned and operated a bakery, giovanni Targioni-Tozzetti was born the same year in the same city and became Mascagnis lifelong friend and collaborator. In 1876, at the age of 13, Mascagni began musical studies with Alfredo Soffredini, the older man had just completed his musical studies in Milan. Also a native of Livorno, Soffredini was a composer, teacher, the youth started composing rapidly, and between 1879 and 1880, he composed several works, Sinfonia in do minore, Prima sinfonia in fa maggiore, Elegia, Kyrie, Gloria and Ave Maria. The premiere of Mascagnis first cantata, In Filanda, took place at the Istituto Cherubini on 9 February 1881, performed at a musical contest in Milan, the cantata won the first prize. In the same year Mascagni met the musicians Arrigo Boito and Amilcare Ponchielli in Milan, in 1882, he composed his Cantata alla gioia from a text by Gustav Schiller, followed by La stella di Garibaldi for voice and piano, and La tua stella. On 6 May Mascagni left Livorno for Milan and he passed the admission examination of the Milan Conservatory on 12 October. In Milan, Mascagni met the noted composer Giacomo Puccini, on 9 January 1883, Mascagnis sister, Maria, died. The cantata In Filanda became Pinotta, and was proposed for the musical contest of the Conservatorio, in 1884, he composed Ballata for tenor and piano, Mama non mama, scherzo for soprano and piano, Messagio damore, and Alla luna. In 1885, Mascagni composed Il Re a Napoli in Cremona and he left Milan without completing his studies. That year, he began touring as a conductor in the companies of Vittorio Forlì, Alfonso and Ciro Scognamiglio, and, in Genova. Mascagni met the impresario Luigi Maresca in 1886 and started working with him and that December, Mascagni arrived in Cerignola with Marescas company. He was accompanied by Argenide Marcellina Carbognani, his future wife, helped by the mayor Giuseppe Cannone, Mascagni soon left the company of Maresca, not without problems. He was appointed as the master of music and singing of the new philharmonia of Cerignola, in February 1888, he began work on the Messa di Gloria. In July, Casa Sonzogno announced in the Teatro Illustrato its second competition for a one-act opera, the following year, Mascagni completed his composition of Cavalleria rusticana on 27 May and sent the manuscript to Milan
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