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An oratorio (Italian pronunciation: [oraˈtɔːrjo]) is a musical composition with dramatic or narrative text for choir, soloists and orchestra or other ensemble. [1]Like most operas, an oratorio includes the use of a choir, soloists, an instrumental ensemble, various distinguishable characters (e.g. soloists), and arias.
The transition from oratorio to full-fledged opera hasn’t been a smooth one. An opera has greater dramatic demands than an oratorio. An oratorio, by definition, is immobile.
First page of the first part of Bach's Christmas Oratorio (1734) This is a chronological list of oratorios from the 16th century to the present. Unless otherwise indicated, all dates are those when the work was first performed. In some cases only the date of composition is known. In others, the oratorio has only been heard on a recording.
Overture (from French ouverture, lit. "opening") is a music instrumental introduction to a ballet, opera, or oratorio in the 17th century. [1] During the early Romantic era, composers such as Beethoven and Mendelssohn composed overtures which were independent, self-existing, instrumental, programmatic works that foreshadowed genres such as the symphonic poem.
The opera won McCartney's support of the "Liverpool Oratorio" production, in part, when it staged in 2018 "Another Brick in the Wall," the U.S. premiere of an opera based on Pink Floyd’s 1979 ...
Opera buffa – Genre of opera characterized by light, humorous, and often satirical themes. Opera seria – Genre of opera with serious, often tragic themes. Semi-opera – Genre that blends spoken drama with musical interludes and elaborate staging. Oratorio – Large composition for orchestra, choir, and soloists, typically based on a ...
It is sung by a soloist with the accompaniment of instruments, often a small orchestra. The da capo aria is very common in the musical genres of opera and oratorio. According to Randel, a number of Baroque composers (he lists Scarlatti, Hasse, Handel, Porpora, Leo, and Vinci) composed more than a thousand da capo arias during their careers. [1]
Recitative is also occasionally used in musicals, being put to ironic use in the finale of Kurt Weill's The Threepenny Opera. It also appears in Carousel and Of Thee I Sing. George Gershwin used it in his opera Porgy and Bess, though sometimes the recitative in that work is changed to spoken dialogue.