DOCSLIB.ORG

Opera and Operetta. Similarities and Contrasts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Opera and Operetta. Similarities and Contrasts Communication by human voice OPERA AND OPERETTA. SIMILARITIES AND CONTRASTS. Florenţa Nicoleta MARINESCU1 1. Prof., Ph.D., Faculty of Arts, Ovidius University of Constanţa, Romania Corresponding author: [email protected] Abstract their knowledge through teachers and students. Lyrical theatre is an infinite resource of communication Capitalist countries set their eyes on middle- between the audience and the artists. Based on its musical eastern European teachers and masters of the and vocal primal instruments it has been reaching out to craft, offering them a possibility to practice their public of all social classes throughout history. This universal artistic language is expressed on stage through art in a new and friendly environment. various representations expanding in different genres and Subsequently the competition between academic subcategories, defined by their historic periods and ages. institutions grew, helping art form evolve and This communication is realized through the human voice; reach new heights. One thing will be ever so this wonderful and mysterious weapon of artistic creation cannot be tuned to the standards of physical playable similar in capitalist or communist regimes alike; instruments, but can surely be the vessel that brings the art is a direct expression of life and truth, like a audience an emotional and powerful experience. This form mirror resembling social dilemmas, protests and of artistic performance is full of spiritual and timeless emotion. No doubt a great contribution to cultural life to needs. Played out on a stage through conventional many civilizations of the world, its message is direct and means of the genres, one can understand the always straightforward aimed at audiences all around the struggle and history of a civilization through its globe. art. Though the production value and final Keywords: voice, theatre, communication, opera, operetta, performance, musical. presentation may vary from a place to another, it is the combined work of a group of people like The musical lyric scene is an artistic form grips, stage and light designers, make-up and present all over the world, in every corner and costume artists that reaches out to the people and city that manifests cultural life and creative sends them the message. An interesting activities. It is a special and unique genre of art comparison would be one between the effect of that transcends through history and the passing art and the effect of religion on one's mind. of time, its birth place dating back to medieval Somehow religion is more of a boundary-setter ages. One can say that many great cities based than an liberator of thought. Art lets the mind go their cultural evolution on preserving this art beyond the simple philosophy of sinner and form through institutions of display and saint, revealing the beautiful shades of grey that education, like theatres, schools and universities. put the mind and soul to the test. Art can spark At a closer look, a pertinent and curious revolutions. It is a well known fact that many art observation is that ex-communist countries have forms evolved in a church-oriented environment, developed a special and respectful approach to but when the moment came they flew away like this kind of artistic creation. Without having the a baby bird following the natural course of life consumerist agenda of old capitalist systems and which is to cultivate and explore the maximum being exposed for the first time to foreign potential of your being. investors and corporations, many of these Perfection in art is defined by imperfection, countries concentrated their new found freedom by human condition in its primal form. The in human studies, mostly art, exercising their emotional roller coaster provided for the imagination and creative potential. A good and audiences takes them on a journey where they immediate consequence is that new schools and experience fear, happiness, truth, betrayal, cries universities all over the world started exchanging and laughter. The result of a story and the cycle Volume 4 • Issue 2 April / June 2014 • International Journal of Communication Research 75 Florenţa Nicoleta MARINESCU of an artistic creation is through itself perfection, Having a dramatic storyline, almost all Operas and this idea creates a whole new church. The have a sad ending. Opera Buffa is the so called comparison is applied even to the architectural “happy” Opera; it has a happy, positive ending side of the matter. Theatres and ballrooms in to the storyline. Lovers always unite at the end, great places around the world are a display of in spite of everything that’s happened to stop creativity without restraint. They celebrate the them, and characters that through storyline get place where people go to detach themselves from the appeal of the audience come out on top. Even everyday problems and needs. Churches and the Opera Buffa authors are told to have been religious buildings however manifest a certain positive and uplifting people. Two of them that conservative approach in architecture. With the stand out in mind are Gaetano Donizetti and passing of time, many theatrical lyrical genres Gioacchino Rossini. Their creation had a great were born by the social classes that commissioned commercial appeal as they were true entertainers them. When these forms of art started catching through their art form. Some dramatic Opera on to the high courts as well as the streets, the authors have created Opera Buffa compositions, fundamental difference was set by how the like Giacomo Puccini and Giuseppe Verdi. authors tackled subjects; the comedy-drama ratio Somehow you can feel the touch of a dramatic was very important, as well as who turned out author even in these creations, being smarter and to be the obvious victor in the end. more profound in their expression. Without a Whatever the variation of these creations, the doubt, the emotional bound that appears between stage always won. Let’s focus on two genres that audience and character is something very strong apparently are almost the same. Both focusing and very unique in Opera. The performance is on music as their primal element of expression the one that gives out the energy needed to create and using similar exposure methods through such a bond. People gasp when characters pause, stages, props, acting, costumes, and accompanied they fight through it emotionally when it comes by orchestras: Opera and Operetta. Differences to the characters struggle, they await the end between these genres are not set only by the even when most of them know the story already. different musical scores that they use, but also What goes on the stage becomes your only point by their different “perfection” goals. Opera of attention. You are taken on a journey that focuses on the exploitation of the voice, and visually can grip you harder than the experience taking it to the highest level possible to of a film. Once you go out the theatre you have communicate with the audience, whilst Operetta a certain look back moment when you realize uses a kind of spoken word singing that does not that it is all over and the show ended, and you require the singing artists to go far from their have to get back to reality. Centuries of this art comfort zone when performing. Opera tends to form are the reason of its necessity. become a little slow in comparison to Operetta Operetta does not solicit the audiences’ energy as the ladder through its dynamics is more in this manner. The storyline is always lighter, entertaining for the audience. Both use theatricals with an end that is expected by development. and acting, this playing a very important part in The intensity of the vocals is set to a medium, as the appeal of the genres and being an important the viewer gets the feel of a conversation being aid to the storytelling part of the composition. played out in song. The subjects that are taken Opera has a dramatic storyline. Voices in on are friendlier as they are filled with comic Opera are given a lot of power and personality. relief and satire, and the props and costumes Characters have conflicts, they can be kind and have more of a flashy feeling, being more gentle, they can beg and they can be demanding, entertaining and less needy of attention and sometimes even command armies in their roles. emotional focus. They take on romance with But the personality of the character is given by dancing moments, and the dynamic is faster, the singer/actor that portrays it. That’s why in more rhythmic without being easy. Social classes many occasions the audiences come to the theatre are depicted humorously by the characters, and wanting to see how the singer finds the technical the viewers always relate. The ballet has an and professional means to take on the character. important role in the breathing spaces of the 76 Volume 4 • Issue 2 April / June 2014 • OPERA AND OPERETTA. SIMILARITIES AND CONTRASTS development. The Operetta ballet is characterized the classical elements of ballet that we find in by its entertaining value whilst in Opera, the Opera and Operetta, the modern dance techniques choreography is a direct helper to the dramatic help for a more personal “pop” influenced value of the creation. Its goal is to amplify the delivery. Backing vocals help the stage but they drama factor, without taking the attention point do not have the same important role of the off the singer. A modern form of expression is classical choir. They are planned only to help the Musical. Born and developed at the maximum harmonics and aid in the mood set of the play, on the North American continent, it is a complex rather than being a separate and elaborate and powerful art form that tackles on more structure like in Opera or Operetta.
Load more

Recommended publications
  • French Secular Music in Saint-Domingue (1750-1795) Viewed As a Factor in America's Musical Growth. John G
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth. John G. Cale Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Cale, John G., "French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth." (1971). LSU Historical Dissertations and Theses. 2112. https://digitalcommons.lsu.edu/gradschool_disstheses/2112 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 72-17,750 CALE, John G., 1922- FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH. The Louisiana State University and Agricultural and Mechanical College;, Ph.D., 1971 Music I University Microfilms, A XEROX Company, Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by John G. Cale B.M., Louisiana State University, 1943 M.A., University of Michigan, 1949 December, 1971 PLEASE NOTE: Some pages may have indistinct print.
    [Show full text]
  • Download the Monthly Film & Event Calendar
    SAT 2:00 Film SAT 7:00 Film SAT 7:00 Film 4:00 Film Hale County Ugetsu. T3 Suzakumon. T2 The Devil’s Temple. Film & Event Calendar 7 This Morning, This 14 21 T2 Events & Programs 7:00 Film 10:20 Family Evening. T1 10:20 Family 10:20 Family WED An Evening with 6:30 Film Gallery Sessions Explore This! Activity Stations Tours for Fours. Tours for Fours. Tours for Fours. 4:30 Film Shannon Plumb. T2 Gonza the Spearman. Daily, 11:30 a.m. & 1:30 p.m. Sat, Apr 7 & Sun, Apr 8, Education & Education & Education & 25 The Nothing Factory. T2 Museum galleries 1:00–3:00 p.m. Floor 5 Research Building Research Building Research Building 1:30 Film T2 Mr. Blandings Builds 7:00 Film Join us for conversations and Explore art through fun and 10:20 Family 10:20 Family 10:20 Family His Dream House. T2 In the Last Days of activities that offer insightful and engaging activities for all ages. A Closer Look for MON A Closer Look for A Closer Look for SUN WED the City. T1 unusual ways to engage with art. Kids. Education & Kids. Education & Kids. Education & 4:30 Film Free with admission 1 4 Research Building 9 Research Building Research Building Gonza the Spearman. Limited to 25 participants SUN See moma.org for TUE T2 Family Films: Yum! Films 10:20 Family 7:30 Event 1:00 Family 1:30 Film 12:00 Family up-to-date listings. 29 Art Lab: Nature About Food Tours for Fours.
    [Show full text]
  • OPERA GLOSSARY – the CULTURE CONCEPT CIRCLE Aficionado - a Devoted Fan Or Enthusiast
    OPERA GLOSSARY – THE CULTURE CONCEPT CIRCLE aficionado - A devoted fan or enthusiast. apron - The front part of the stage between the curtain and the orchestra pit. aria - Italian word for "air." a song for solo voice with instrumental accompaniment. baritone - The medium male voice. lies between the low bass voice and the higher tenor voice. baroque - The period of music from the early to mid 1600's to the mid 1700's. Baroque operas are characterized by emotional, highly stylized and flowery presentations. bass - The lowest of the male voices. bass-baritone - A male voice which combines the quality of the baritone with the depth of the bass, avoiding the extremes of either range. basso profundo - The most serious bass voice. bel canto - Italian for "beautiful singing." In a bel canto style opera, the beauty of singing is more important than the plot or the words. bravo! - Bravo is the Italian word for expressing appreciation to a male performer. brava! - Bravo is the Italian word for expressing appreciation to a female performer bravi! - Bravo is the Italian word for expressing appreciation to two or more performers. cadenza - Near the end of an aria, a series of difficult, fast high notes that allow the singer to demonstrate vocal ability. classical - The period in music from roughly the mid 1700's to the early 1800's. coloratura soprano - A very high pitched soprano. also the description of singing which pertains to great feats of agility - fast singing, high singing, trills, and embellishments. commedia dell'arte - A style of dramatic presentation popular in Italy from the 16th century on; the commedia characters were highly stylized and the plots frequently revolved around disguises, mistaken identities and misunderstandings.
    [Show full text]
  • Melinda and Her Sisters: Reconsidering a Suffrage Operetta As Pageantry
    Melinda and Her Sisters: Reconsidering a Suffrage Operetta as Pageantry A thesis submitted by Kendall H. Winter in partial fulfillment of the requirements for the degree of Master of Arts in Music Tufts University February 2017 Advisor: Stephan Pennington ii Abstract This thesis claims that the sui generis classification of Belmont and Maxwell’s Melinda and Her Sisters as a suffrage operetta is to blame for the lack of extant scholarship on the work. In its place, I offer the analytical framework of pageantry. Relying on contemporaneous press and practical guides and recent histories of each genre, I reconstruct the commercial and critical atmosphere in the year the work was created, 1916. I also draw on suffrage propaganda, government documents, and court cases to convey the sociopolitical tension of the historical moment. By placing the two genres in dialogue, I reveal a chiasmus of gender and class coding attendant to each. I conclude that it was the relatively high cultural capital of “suffrage operetta,” and not its aptness of description, that ultimately led the creators to market their work as such. As a genre case study, this thesis comments on the impact that ontology has on reception. iii Table of Contents Introduction ............................................................................................................. 1 Chapter One: Reassessing the Operetta Classification ......................................... 15 Chapter Two: A Case for Pageantry ....................................................................
    [Show full text]
  • Early 20Th-Century Operetta from the German Stage: a Cosmopolitan Genre
    This is a repository copy of Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/150913/ Version: Accepted Version Article: Scott, DB orcid.org/0000-0002-5367-6579 (2016) Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre. The Musical Quarterly, 99 (2). pp. 254-279. ISSN 0027-4631 https://doi.org/10.1093/musqtl/gdw009 © The Author 2016. Published by Oxford University Press. This is an author produced version of a paper published in The Musical Quarterly. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre Derek B. Scott In the first four decades of the twentieth century, new operettas from the German stage enjoyed great success with audiences not only in cities in Europe and North America but elsewhere around the world.1 The transfer of operetta and musical theatre across countries and continents may be viewed as cosmopolitanism in action.
    [Show full text]
  • WEBER PIANOS. Perßolesi-S Season
    ' ity NEW-YORK DAILY TRIBUNR SUNDAY. MAT », llKll. MUSICAL NOTES. MME. SEMBRICH-THE BACH rEBTTVAIr- MEXDELSSOHN- and THE "ST. mat- Special S^le THEW PASSION*"— ORCHES- ., TltAB IN THE UNITED STATES- OF ANNOUNCEMENTS. Mmc fiemhrlch. completely restored to health. Is GRAND AND UPRIGHT <lnplne at th? Royal Opera In Berlin. The sea- eon, an Italian MM like that of last fall, began on M.'y 11 with "Don l'asquale," and is to last four weeks. The list of operas contains "Don Pas- fjunle." "II P.arbiere." "L'Ellsir d'Amore." "Tra- vfatn." "Rigoletto." "Faust." "I Pagllacci" and rergolesi 1* l.i Serva Padrona." The revival of masterpiece is an Interesting Incident WEBER PIANOS. Perßolesi-s season. Thl« little work It In Mm.-. ErmbricVs bouf- was that precipitated the famous "guerre dcs struggle be- fons" In Paris which preceded the It also ushered by of the tween the Oluckistr and Plcdnlsts. The instruments used the Artists Maurice in the operatic form called opera buffa, works of scene, during which class had. till it appeared on the been Grau Opera Company the past season (among used Pimply as intermezzi. "La Serva Pardrona" tells of th» schemes and devices of an arch little the finest samples of our product and in all rlmmbermald named Serpina to win the hand of her master. Pandolfo. The valet. Ecapin. helps the respects practically equal to new), will be sold minx In her plan by disguising himself as a cap- to tain and making: such violent love to her as this week and next at pique the old man's Jealousy and brim? him to the popping point.
    [Show full text]
  • Jacques Offenbach Jhahk Awf-Ehn-Bahk a Composer of the Romantic Era Jacques Offenbach Was Born Jacob Offenbach in the City of Cologne, Germany
    The receipt of this page via the Music In Our Schools Month Offer (March 2018) carries with it the right to photocopy this page for classroom use for your school. Limited to one school only. NOT FOR RESALE. No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. For distribution, reproduction, or use beyond what is described herein please visit www.alfred.com/permissions. The receipt of this page via the Music In Our Schools Month Offer (March 2018) carries with it the right to photocopy this page for classroom use for your school. Limited to one school only. NOT FOR RESALE. No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. For distribution, reproduction, or use beyond what is described herein please visit www.alfred.com/permissions. Jacques Offenbach Jhahk Awf-ehn-bahk A composer of the Romantic Era Jacques Offenbach was born Jacob Offenbach in the city of Cologne, Germany. He changed his first name to Jacques when he was 14 and living in Paris. Jacques’ father was a musician, and gave lessons on violin, flute, guitar, cello, and composition. Jacques began composing songs at the age of eight. At age 14 he entered the Paris Conservatory, but left after a year. However, Jacques continued to take composition lessons. He supported himself as a cellist in an opera orchestra, gave concerts, and became known as a fine soloist. In Paris, Jacques fell in love with Herminie D’Alcain, but didn’t have enough money to marry her.
    [Show full text]
  • Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
    Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated
    [Show full text]
  • An Early 20Th-Century Kraków Vaudeville by Krumłowski: a Cultural Transfer Or an Expression of Local Traditions?
    Musica Iagellonica 2012 ISSN 1233-9679 Anna G. PIOTROWSKA (Kraków) An early 20th-century Kraków vaudeville by Krumłowski: a cultural transfer or an expression of local traditions? At the turn of the twentieth century, the vaudeville traditions were em- braced in Kraków by Konstanty Krumłowski (1872–1938)—a well-known and liked author of satirical texts. His plays, complete with dances and short songs written by various—more or less recognized composers—were very popular in Kraków. The phenomenon of the genre may be considered from two perspec- tives: as an example of cultural transfer of Viennese traditions, oriented toward operetta performances, or as an instance of cultivating local themes. The first approach focuses on the very genre of vaudeville, and concerns the influence of Vienna over the musical life in Kraków which, at that time, was a part of Austro-Hungarian Empire. The second approach concentrates on the content of Krumłowski’s vaudevilles and is an attempt to find out whether local themes are present in his musically illustrated acts. 1. The end of the nineteenth and beginning of the twentieth century mark the peak of operetta’s popularity in Vienna, attributed to the success of Johann Strauss, Jr.’s works. This is the time when the golden age of Viennese operet- ta 1—apart from J. Strauss’, the works of Carl Zeller (1842–1898) or Franz von 1 Richard Traubner, Operetta. A Theatrical History, New York and London 2003: 103–131. 161 Anna G. Piotrowska Suppé (1819–1895) were also performed—turns into the silver age. 2 Operettas by Imre Kálmán (1882–1953), Franz Lehár (1870–1948), Leo Fall (1873–– 1925), Edmund Eysler (1874–1949), Oskar Nedbal (1874–1930) and many more were a great success in Vienna.
    [Show full text]
  • The Cosmopolitan Realism of Offenbach's La Vie Parisienne
    Writing the City: The Cosmopolitan Realism of Offenbach’s La Vie parisienne Jacek Blaszkiewicz As the curtain of Paris’s Théâtre du Palais Royal rose on October 31, 1866, spectators saw before them a mise-en-scène unprecedented in the city’s operatic history: a railway station—specifically the Gare de l’Ouest, one of Paris’s newest and busiest. A chorus marches onto the stage, announc- ing that they are the employees of the Ligne de l’Ouest rail company. Against an aggressive triple-meter orchestral accompaniment, the workers list off the names of the French cities and towns served by the company: Conflans, Triel, Poissy, Barentin, Pavilly, Vernon, Bolbec, etc. This list is doubly humorous. First, it captures the mechanical repetitiveness of the ever-expanding French railway system, rendered musically through an eleven-measure dominant prolongation in Bb major. Second, it pokes fun at mass-produced travel literature aimed specifically at tourists; the chorus, in essence, sings a version of the itineraries found in Lehaguez’s Le Nouveau paris: guide à l’étranger, a popular guidebook series that contained endless pages of station names in miniscule typescript. The workersfollow this list with a second: an account of various professional tasks, such as selling tickets and newspapers, opening and closing gates, and signaling incom- ing and outgoing rail traffic. These two lists are repeated twice, before the employees march off the stage, presumably back to work. The employees’ exit concludes the first vocal number of La Vie parisi- enne, an opéra-bouffe by Henri Meilhac and Ludovic Halévy with music by Jacques Offenbach.
    [Show full text]
  • On Opera (On Opera) Self-Referential Negotiations of a Difficult Genre
    Opera on Opera (on Opera) Self-Referential Negotiations of a Difficult Genre Frieder von Ammon, Munich This paper focuses on metaopera as a distinctive dramatic genre and examines it from both a systematic and a historical perspective. It is demonstrated that, due to its specific structural complexity, metaopera is located at the very centre of the wide field of ‘Self-Reference in Literature and Music’. It is through music that in metaopera the potential for dramatic meta-communication is considerably higher than in purely verbal drama. Furthermore, metaopera is a subject worthy of close study also for the cultural historian as, from its very beginnings, opera has contin- uously been a self-reflexive genre. Thus operas, as metaoperas, frequently tell the story of the cultural development of opera itself. Such metareferential conditions are demonstrated in this paper by a close analysis of Hofmannsthal and Strauss’ Ariadne auf Naxos, which, in the light of earlier metaoperas, is interpreted as an example of meta-metaopera representing operatic metareferentiality to the highest degree. The 7th of February, 1786, is an important date in the history of self- reference in literature and music. In honour of the Low Countries’ general governor, Duke August of Sachsen-Teschen, and his wife, the German emperor, Joseph II, had arranged a special event for this day. It took place in the orangery of Castle Schönbrunn in Vienna, for that was the only room with an appropriate heating system, and it bore the beautiful title ‘Frühlingsfest an einem Wintertag’ (‘Spring Festival on a Winter’s Day’). One is, however, tempted to speak of a ‘Festival of Self-Reference’ instead.
    [Show full text]
  • Misconceptions of the “Comic” Genre in Opera
    DOI: 10.31722/ejmd.584420 EJMD / 2019 (14), 239-248 OPERADA BİR TÜR OLARAK “KOMİK” KAVRAMINA İLİŞKİN YANILSAMALAR Misconceptions of the “Comic” Genre in Opera * Mehmet GİRGİN ** Ebru GÜNER CANBEY ÖZ Opera tarihi içerisinde İtalya’da opera seria ve opera buffa konusal ve yapısal farklılıklar gösteren iki farklı türdür. Bu iki ana tür arasından opera buffa, “gülünçlü (komik) opera” türü olarak nitelendirilmiş, uygulama ve stil açısından farklılıklar içererek ciddi üsluba karşıt olarak gelişen ve farklı ülkelerde farklı isimlerle tanımlanan operaların bu tür içine dâhil edildiği bir üst başlık haline gelmiştir. Öte yandan Fransa’da varlığını sürdüren “opéra comique (opera komik)” kavramının betimlediği tür, adında geçen “komik” sözcüğünden kaynaklı bir kavram kargaşası yaratmaktadır. Komik kelimesinin akıllarda “güldürü” çağrıştırmasına rağmen opéra comique (opera komik) türü içerisine giren birçok operanın “güldüren” nitelikte olmaması, kavram için açıklama yapılması ihtiyacını doğurmuştur. Bu çalışma gülünçlü (komik) opera kavramının altında toplanan farklı dillerdeki tanımlamaların yarattığı kavram kargaşasına ışık tutarak, 18. yüzyıldan günümüze kadar halen en çok tercih edilen opera türü olan opéra comique (opera komik) türünün anlaşılabilmesine fayda sağlamaktadır. Anahtar Kelimeler: Opera, opera türleri, komik opera, opera buffa, opéra comique ABSTRACT In the history of opera, in Italy, opera seria and opera buffa are the two different opera genres that differ thematically and structurally. Of these two main genres, opera buffa has been described as “comic opera”, and has become a main title among the operas that are different in terms of practice and style are developed as opposed to the serious style and defined with different names in different countries are included. On the other hand, the genre defined as “opéra comique” in France creates a conceptual confusion due to the use of the word “comic”.
    [Show full text]