Category

Opera genres

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thumb|upright=1.2|The audience at the Théâtre des Bouffes-Parisiens, the birthplace of [[Jacques Offenbach's operettas. Caricature of 1860 by Émile Bayard.]]

Italian opera genre

thumb|right|250px|Poster of Doña Francisquita

style of Italian opera

thumb|Wolfgang Amadeus Mozart (center) attending a performance of his Singspiel, [[Die Entführung aus dem Serail, in Berlin in 1789]] A Singspiel (; plural: ; ) is a form of German-language music drama, now regarded as a genre of opera. It is characterized by spoken dialogue, which is alternated with ensembles, songs, ballads, and arias which were often strophic, or folk-like. Singspiel plots are generally comic or romantic in nature, and frequently include elements of magic, fantastical creatures, and comically exaggerated characterizations of good and evil. __TOC__

In music, an intermezzo (, , plural form: intermezzi), in the most general sense, is a composition which fits between other musical or dramatic entities, such as acts of a play or movements of a larger musical work. In music history, the term has had several different usages, which fit into two general categories: the opera intermezzo and the instrumental intermezzo.

genre of French opera

A monodrama is a theatrical or dramatic piece played by a single actor or performer, usually portraying one character.

tragédie en musique

french opera genre

Opéra-ballet (; plural: opéras-ballets) is a genre of French Baroque lyric theatre that was most popular during the 18th century, combining elements of opera and ballet, "that grew out of the ballets à entrées of the early seventeenth century". It differed from the more elevated tragédie en musique as practised by Jean-Baptiste Lully in several ways. It contained more dance music than the tragédie, and the plots were not necessarily derived from classical mythology and allowed for the comic elements, which Lully had excluded from the tragédie en musique after Thésée (1675). The opéra-ballet co

opera semiseria

thumb|Giacomo Puccini, one of the composers most closely associated with verismo. thumb|Cavelleria Rusticana, considered the first Verismo opera thumb|Pagliacci is a famous Verismo opera

The terms "semi-opera", "dramatic[k] opera" and "English opera" were all applied to Restoration entertainments that combined spoken plays with masque-like episodes employing singing and dancing characters. They usually included machines in the manner of the restoration spectacular. The first examples were the Shakespeare adaptations produced by Thomas Betterton with music by Matthew Locke. After Locke's death, a second flowering produced the semi-operas of Henry Purcell, notably King Arthur and The Fairy-Queen. Semi-opera received a deathblow when the Lord Chamberlain separately licensed plays

opera genre; operas written to be performed with a chamber ensemble rather than a full orchestra

In music, a pasticcio or pastiche is an opera or other musical work composed of works by different composers who may or may not have been working together, or an adaptation or localization of an existing work that is loose, unauthorized, or inauthentic.

subgenre of pop music

French opera genre

Farsa (Italian, literally: farce, plural: farse) is a genre of opera, associated with Venice in the late 18th and early 19th centuries. It is also sometimes called farsetta.

comédie en vaudevilles

theatrical entertainment which began in Paris towards the end of the 17th century

Dramma per musica

pastorale héroïque

In theater and music history, a burletta (Italian, meaning "little joke", sometimes burla or burlettina) is a brief comic opera. In eighteenth-century Italy, a burletta was the comic intermezzo between the acts of an opera seria. The extended work Pergolesi's was also designated a "burletta" at its London premiere in 1758.

list of opera genres

Wikimedia list article

fairy-tale opera

opera genre; operas based on fairy tales or whose plots contain magical elements

Intermède (also intermédie, intramède, entremets) is a French theatrical entertainment or spectacle, often involving song and dance and inserted between the acts of a play. It was similar to the Italian intermedio.

Romantische Oper

Posse mit Gesang

form of popular German-language music drama, farce

An afterpiece (or postlude, German term Nachspiel is also used in English texts) is a short, usually humorous one-act playlet or musical work following the main attraction (the full-length play or music piece) and concluding the theatrical evening or religious service. In terms of content, there was usually no connection to the main performance. A similar theatrical piece preceding the main attraction is a curtain raiser.

In the 19th century, Spieloper (, 'opera play') was understood to mean a light opera genre, developed from Singspiel. Works typical of the genre include those by Albert Lortzing, such as Zar und Zimmermann, and Otto Nicolai's The Merry Wives of Windsor. A key difference between Spieloper and Singspiel on the one hand, and opera buffa on the other, is that the two former genres contain spoken dialogues instead of recitatives, which is why Conradin Kreutzer's Das Nachtlager in Granada and Friedrich von Flotow's Martha do not belong to this genre.