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Updated: May 14, 2025
"Le Nozze di Figaro," in the German version, "Die Hochzeit des Figaro," an opera buffa in four acts, the words by Lorenzo da Ponte, after Beaumarchais's comedy, "Le Mariage de Figaro," was first produced at the National Theatre, Vienna, May 1, 1786, with the following cast:
Jery und Bately is a charming natural picture of Swiss manners, and in the spirit and form of the best French operettes; Scherz List und Bache again is a true opera buffa, full of Italian Lazzi. Die Mitschuldigen is a comedy of common life in rhyme, and after the French rules.
Indeed, the French character is peculiarly well fitted for assuming the gay and lively tone that pervades their opera buffa, which may be characterised as amusing and interesting in general, rather than comic; as full of spirit and vivacity, rather than of humour.
The house is said to contain two thousand persons. In the beginning, this theatre united the performers of the original Opera Buffa and some of those belonging to the old French Comic Opera, who played alternately.
And yet, of this work an English critic wrote, on its first London presentation: "Bellini has soared too high; there is nothing of grandeur, no touch of true pathos in the common-place workings of his mind. He cannot reach the opera semiseria; he should confine his powers to the musical drama, the one-act opera buffa." But the history of art-criticism is replete with such instances.
Lovers of the ballet of action will perceive that the scenario of Striggio's musical comedy could also serve perfectly for that of a suite of pantomimic dances. Nor can the reader fail to discern in this story some of the germs of the opera buffa.
Donizetti, as we have seen, enriched the repertory of opera buffa with several masterpieces of gay and brilliant vivacity, but few of the lighter works of his contemporaries deserve permanent record. The story is a happy combination of farce and féerie. Crispino, a half-starved cobbler, is about to throw himself into a well, when La Comare, a fairy, rises from it and bids him desist.
In opera buffa, a field in which his talents shone even more brilliantly, his earliest success was made with 'L'Italiana in Algeri' , which was followed in 1815 by the world-famous 'Barbiere di Siviglia. This was originally produced in Rome under the name of 'Almaviva, and strangely enough, proved an emphatic failure. For this, however, the music was scarcely responsible.
At length he received a commission from the Elector of Bavaria, Maximilian III., to write an opera buffa for the Carnival of 1775, "La finta Giardiniera." Munich, Dec. 28, 1774. My Dearest Sister, I have my reasons for this. Munich, Dec. 30, 1774. I BEG my compliments to Roxalana, who is to drink tea this evening with the Sultan, All sorts of pretty speeches to Madlle.
16. du Marais, Rue Culture Ste. Catherine. 17. de la Cite, vis-a-vis le Palais de Justice. 18. des Victoires, Rue du Bacq. 19. de Moliere, Rue St. Martin. 20. de l'Estrapade. 21. de Mareux, Rue St. Antoine. 22. des Aveugles, Rue St. Denis. 23. de la Rue St. Jean de Beauvais. Bal masque de l'Opera, Rue de la Loi. 25. de l'Opera Buffa, Rue de la Victoire.
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