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The history of opera has a relatively short duration within the context of the history of music in general: it appeared in 1597, when the first opera, Dafne, by Jacopo Peri, was created.
- Overview
- The early history
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opera, a staged drama set to music in its entirety, made up of vocal pieces with instrumental accompaniment and usually with orchestral overtures and interludes. In some operas the music is continuous throughout an act; in others it is broken up into discrete pieces, or “numbers,” separated either by recitative (a dramatic type of singing that approaches speech) or by spoken dialogue. This article focuses on opera in the Western tradition. For an overview of opera and operalike traditions in Asia (particularly in China), see the appropriate sections of Chinese music, Japanese music, South Asian arts, and Southeast Asian arts; see also short entries on specific forms of Chinese opera, such as chuanqi, jingxi, kunqu, and nanxi.
The English word opera is an abbreviation of the Italian phrase opera in musica (“work in music”). It denotes a theatrical work consisting of a dramatic text, or libretto (“booklet”), that has been set to music and staged with scenery, costumes, and movement. Aside from solo, ensemble, and choral singers onstage and a group of instrumentalists playing offstage, the performers of opera since its inception have often included dancers. A complex, often costly variety of musico-dramatic entertainment, opera has attracted both supporters and detractors throughout its history and has sometimes been the target of intense criticism. Its detractors have viewed it as an artificial and irrational art form that defies dramatic verisimilitude. Supporters have seen it as more than the sum of its parts, with the music supporting and intensifying the lyrics and action to create a genre of greater emotional impact than either music or drama could achieve on its own. In his 1986 autobiography, stage and film director Franco Zeffirelli warned against taking opera too literally:
Short men in armour and large ladies in chiffon singing about ancient Egypt don’t make much sense at one level [but] they can…reveal to us the confusions of emotion and loyalty, the nature of power and pity, that could not be so movingly expressed in any other way.
The preparation of an opera performance involves the work of many individuals whose total contributions sometimes spread across a century or more. The first, often unintentional, recruit is likely the writer of the original story. Then comes the librettist, who puts the story or play into a form—usually involving poetic verse—that is suitable for musical setting and singing. The composer then sets that libretto to music. Architects and acousticians will have designed an opera house suited or adaptable to performances that demand a sizable stage; a large backstage area to house the scenery; a “pit,” or space (often below the level of the stage) to accommodate an orchestra; and seating for a reasonably large audience. A producer (or director) has to specify the work of designers, scene painters, costumers, and lighting experts. The producer, conductor, and musical staff must work for long periods with the chorus, dancers, orchestra, and extras as well as the principal singers to prepare the performance—work that may last anywhere from a few days to many months. All of this activity, moreover, takes place in conjunction with the work not only of researchers and editors who painstakingly prepare the musical score, especially in the case of revivals of works long forgotten or published long ago, but also of the theatre’s administrative staff, which includes the impresario and others responsible for bookings, ticket sales, and other business matters.
Britannica Quiz
An Evening at the Opera
Music historians have continued to debate opera’s ancestry. The plays of the ancient Greek dramatists Aeschylus, Sophocles, and Euripides combined poetic drama and music. During the Middle Ages, biblical dramas that were chanted or interspersed with music were known under various labels, including liturgical dramas (ordines) and similar plays perfo...
The courts of northern Italy, especially that of the Medici family in Florence, were particularly important for the development of opera. Indeed, Florence became the birthplace of opera at the end of the century, as the result of the confluence of three cultural forces: an established theatrical tradition, a strong sense of civic humanism, and a di...
Dafne by Jacopo Peri was the earliest composition considered opera, as understood today, [1] although with only five instrumental parts it was much more like a chamber opera than either the preceding intermedi or the operas of Claudio Monteverdi a few years later.
Opera is a form of theatre in which music is a fundamental component and dramatic roles are taken by singers.
Enter Jacopo Peri (1561–1633), who composed Dafne (1597), which many consider to be the first opera. From that beginning, two types of opera began to emerge: opera seria, or stately, formal and dignified pieces to befit the royalty that attended and sponsored them, and opera buffa, or comedies.
The first opera can be traced back to Italy at the start of the 17th century. Its roots probably lay in several sources, including a fascination with what Ancient Greek drama may have looked – and sounded – like, and from already existing theatrical entertainments, such as the intermedi that punctuated spoken drama with song, dance and ...
The first musical theatre work that we might define as an opera today was Jacopo Peri’s Dafne, composed in the late 1590s. Unfortunately little of Peri’s score survives so Claudio Monteverdi’s Orfeo of 1607 takes the crown as the earliest work that you are able to hear.
