COMIC OPERA FORMS

Each major European country or region developed its own form of comic opera, with regional characteristics; the genres had different names in each place, but certain basic elements in common from place to place:

á      broad, low-brow entertainment

á      characters from present day, everyday life

Italy had 2 comic forms: intermezzo and opera buffa

á      Intermezzo: short play performed between acts of a serious opera.  Might be 2 or 3 short acts

á      In early 18th century, opera seria deleted comic characters and plots; gradually separate productions evolved, performed in front of curtain during intermissions of serious operas

á      Some librettists specialized in this form; some libretti used local dialect

á      Intermezzo shows preference for bass voices, helps move away from use of castrato

á      Most famous intermezzo is Giovanni Battista PergolesiŐs (1710-36) La Serva Padrona (1733).  Plot is typical:

á      Limited characters

á      Drawn from commedia dellŐarte

á      Opera buffa: full length comic opera, usually in 3 acts

á      More complex plots than intermezzi

á      Range of characters from different social levels; their levels are brought out in the music they sing: use of dialect and more rapid, folk-like declamation for lower class, more serious, studied declamation for upper class characters

á      Important prototype librettist was Carlo Goldoni (1707-93; also wrote comic plays); typically had 7 singing roles, range of social strata

á      Goldoni was the ŇarchitectÓ of the ensemble finale, which would become very important late in the century.  This has most of the cast on stage together; very different from what is usually found in opera seria (mostly solo arias and recits)

á      Italian comic forms are sung throughout; other countriesŐ comic forms all have spoken dialogue

á      France

á      opera comique: used spoken dialogue instead of recitative.

á      In 1700 there were comedies en vaudevilles: spoken plays with popular tunes or vaudevilles (with new texts added); also dancing, instrumental pieces and sometimes parodies of LullyŐs operas. 

á      These were performed at Theatres de la Foire (fair or carnival): all subsumed under opera comique in 1715

á      Fair Theaters were very popular; the Paris OpŽra and the ComŽdie-Franaise (venue for spoken comedies) were the government-sponsored Ňmonopolies,Ó but feared the competition and tried to restrict opera-comique

á      Another French controversy: Querelle (or Guerre) des Bouffons: an argument over which was a better language for singing: French or Italian. 

á      the ComŽdie-Italienne was re-established right after Louis XIV died, providing venue for Italian operas in Paris

á      Italian models influenced the Opera-Comique in mid-century; Jean-Jacques Rousseau composed an Italian-style intermde in 1752, just like an Intermezzo, but in French.  Sung throughout

á      Another Italian influence: gradually vaudevilles (simple popular songs) were replaced by Ňariettes,Ó newly-composed Italian style songs, often in da capo format.  Sometimes refered to as ComŽdies mlŽes dŐariettes: these were spoken plays with added Italian-style songs

á      In 1762 ComŽdie Italienne and OpŽra Comique merged

á      Through 18th century, opera-comique gradually took on more serious plot points or plots dealing with social issues

á      Toward end of century, a new genre known as Rescue Opera developed, with added ŇromanticÓ adventures

á      In Rescue Opera, a major character is rescued from natural disaster or villain

á      Popular in France in last decade of 18th century, spread to Italy and Germany for brief periods

á      Most famous example is BeethovenŐs Fidelio (1805): in German but typical story

á      England: Ballad opera:

á      Used spoken dialogue

á      Similar to opŽra-comique in that musical portions included some popular tunes, some newly-composed song and some borrowed from operas

á      Plots usually reflect English taste for satire, esp. political satire.   Like French form, Ballad opera gradually became more serious during 18th century

á      Most famous example is The BeggarŐs Opera (John Gay, 1728); a satire on English life, particularly an attack against English government:

á      Characters are criminals in London; action emphasizes criminal activities, lack of any morality

á      BeggarŐs Opera made ballad opera so popular that London audiences preferred the genre to serious opera; serious opera collapsed, Handel turned to oratorios

á      Germany: Singspiel

á      There was general disapproval of opera in Germany: itinerant troupes were seen as similar to other traveling entertainers, e.g.  charlatans

á      In first half of century, musical/theatrical entertainment remained an event for fair seasons, close to commedia dellŐarte tradition, and coarse humor; there were some translations or adaptations of comic operas from Italy, France or England

á      In the later 18th Century, a new genre evolved which we now call Singspiel: basically a spoken play with simple songs in German; comic or ŇsentimentalÓ plot.  Late in century, plots turned to exotic and supernatural

á      Northern Germany: Singspiel gradually became more serious or sentimental; eventually merged in 19th century with German Romantic opera

á      In south (e.g. Vienna), more farcical type was popular; this is the kind used by Mozart