17th century:
Roman opera
Within a few decades, opera spread all over Italy. In Rome, it found an advocate of the high priest and songwriter Julio Rospigliosi (later Pope Clement IX). Rospigliosi's customer is Barberini.
Among the composers who worked in this period, we can mention Luigi Rossi, Michelangelo Rossi, Marco Marazzo, and Virgilio Mazzocchi.
Since the1730s, the theme of the works has changed greatly: those poems with pastoral tradition and paradise, preferably chivalrous, are usually ludovico ariosto and Torquato Tasso, or those poems taken from the biography of saints and Christian comedies.
With the increase in the number of characters, Roman opera has become very dramatic and has several turning points. A new method was also developed to adjust the lines of the recitative, which was more suitable for various situations caused by rich storylines, closer to speeches, full of parenthesis, and sacrificed the juxtaposition style of the first Florence work.
18th century:
Opera series
By the end of17th century, some critics thought that a new and more advanced form of opera was necessary. Their ideas gave birth to a genre, seria opera (literally "serious opera"), which dominated Italy and most other parts of Europe until AD 1700. The influence of this new attitude can be seen in the works of composer Carlo Francesco Pollarolo and prolific Alessandro Scarlatti.
In the 18th century, the artistic and cultural life in Italy was deeply influenced by the aesthetic and poetic ideals of members of Acadia Art Institute. Acadian poets have brought many changes to Italian serious music and drama, including:
* Simplification of the plot
* Remove comedy elements.
* Reduce the number of arias
:: Preference for plots from ancient classics or modern French tragedies, in which the values of loyalty, friendship and virtue are celebrated and the absolute power of the monarch is celebrated.
Comedy opera
In the 1600' s, comedy opera only appeared occasionally and did not form a stable tradition. It was only in the early18th century that the comedy genre of opera buffa was born in Naples and began to spread throughout Italy after 1730.
Opera buffa and opera seria have many differences:
* Pay attention to the stage action and the need for music to follow the dramatic changes, and emphasize the expressive force of language.
* Choose excellent actors who can perform the drama convincingly.
* Reduce the use of scenery and stage machinery, and reduce the number of orchestral players.
* Use a small number of characters (at least in short comedy forms called interludes) and simple plots. A good example is La serva padrona of Pergolesi.
* The lyrics are inspired by commedia dell'arte and expressed in realistic themes, spoken language and slang.
* As far as singing is concerned: totally rejecting vocal skills; A tendency to pronounce words incorrectly; Frequent appearance of rhythm and melody; The use of onomatopoeia and interjections.
Romantic period:
Romantic opera, which emphasizes imagination and emotion, began to appear in the early19th century. Because of its aria and music, it endowed the extreme emotion unique to the drama of that era with more connotations. In addition, it is said that good music often excuses obvious mistakes in characterization and plot lines. Gioachino rossini (1792- 1868) started The Romantic Period. His first success was "buffa Opera" (comedy opera), La Cambia le di Matrimonio (1810). His fame has spread to this day through his hairdresser in Seville and La Cenerentola. But he also wrote serious operas otero (18 16) and Guilhamet Tell (1829).
Contemporary period:
Some of the greatest Italian operas of the 20th century were written by giacomo puccini. These include Manon Leiskow, Bohemian, Tosca, Madame Butterfly, Turandot and La Langding, the last two of which are unfinished. In 2002, Luciano Berio tried to complete Turandot, and Lorenzo Ferrero completed the orchestration of the third edition of La Langding in 1994.