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Giasone was the most popular opera of the 17th century. [7] 1651 La Calisto (Cavalli). Ninth of the eleven operas that Cavalli wrote with Faustini is noted for its satire of the deities of classical mythology. [8] 1683 Dido and Aeneas (Henry Purcell). Often considered to be the first genuine English-language operatic masterwork.
His Giasone was " the most popular opera of the 17th century". [4] Jean-Baptiste Lully (1632–1687) In close collaboration with the librettist Philippe Quinault, Lully founded the tradition of tragédie en musique, [5] combining singing, dance and visual spectacle, which would remain the most prestigious French operatic genre for almost a ...
Cavalli was the most influential composer in the rising genre of public opera in mid-17th-century Venice. Unlike Monteverdi's early operas, scored for the extravagant court orchestra of Mantua, Cavalli's operas make use of a small orchestra of strings and basso continuo to meet the limitations of public opera houses.
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In the middle decades of the 17th century the major opera-producing center was Venice, the first place where music was detached from religious or aristocratic protection to be performed in public places: in 1637 the Teatro San Cassiano was founded (demolished in 1812), the first opera center in the world, located in a palace that belonged to ...
The many biographical accounts of her life, from the eighteenth century onwards, include stories of her winning several duels with the sword—on one occasion with three noblemen in the same evening, after she kissed a young woman at a ball—and beating the singer Louis Gaulard Dumesny after he insulted the other women at the Opera. [1]
Not only is it the first opera to be written on a historical subject, but it carefully describes the inner life of the saint, and attempts psychological characterization of a type new to opera. Most of the interspersed comic scenes, however, are anachronistically (and hilariously) drawn from contemporary life in 17th-century Rome.