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Opéra-ballet (French: [ɔ.pe.ʁa.ba.lɛ]; plural: opéras-ballets) [1] is a genre of French Baroque lyric theatre that was most popular during the 18th century, [2] combining elements of opera and ballet, [3] "that grew out of the ballets à entrées of the early seventeenth century". [4]
During the Baroque period, the art and style of the theatre evolved rapidly, alongside the development of opera and of ballet. The design of newer and larger theatres, the invention the use of more elaborate machinery, the wider use of the proscenium arch , which framed the stage and hid the machinery from the audience, encouraged more scenic ...
The early baroque opera L'Orfeo, composed by Claudio Monteverdi to a libretto by Alessandro Striggio the Younger, was first performed in 1607. It is Monteverdi's first opera, and one of the earliest in the new genre.
Place, theatre 43: Hippolyte et Aricie: tragédie en musique: prologue and 5 acts: Abbé Simon-Joseph Pellegrin: 1 October 1733, revised version: 11 September 1742: Paris, Opéra, Palais-Royal (both occasions) 56: Samson: tragédie en musique: prologue and 5 acts: Voltaire: unperformed, lost, rehearsed 1734 44: Les Indes galantes: opéra-ballet
Exceptions include the English National Opera, the Opera Theatre of Saint Louis, Opera Theater of Pittsburgh, and Opera South East, [61] which favor English translations. [62] Another exception are opera productions intended for a young audience, such as Humperdinck's Hansel and Gretel [ 63 ] and some productions of Mozart's The Magic Flute .
A satire of Italian opera seria based on a play by John Gay, the ballad opera format of The Beggar's Opera has proved popular even up to the current time. [18] 1731 Acis and Galatea (Handel). Handel's only work for the theatre that is set to an English libretto. [19] 1733 Orlando (Handel). [20]
It continues to be well-regarded, featuring some of the best-known music in French baroque opera and being arguably ahead of its time in its psychological interest. Unlike most of his operas, Armide concentrates on the sustained psychological development of a character – not Renaud, who spends most of the opera under Armide's spell, but ...
The early realizations of these ideas, including Jacopo Peri's Dafne and L'Euridice, marked the beginning of opera, [13] which was a catalyst for Baroque music. [ 14 ] Concerning music theory, the more widespread use of figured bass (also known as thorough bass ) represents the developing importance of harmony as the linear underpinnings of ...