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A comparison between the Italian and German Opera; Specifically using examples from Guiseppe Verdi and Richard Wagner

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A comparison between the Italian and German Opera; Specifically using examples from Guiseppe Verdi and Richard Wagner
The Italian opera and the German opera are two different fields that both share characteristics, some of which are paralleled, and some of which contrast. Specifically, Giuseppe Verdi and Richard Wagner use motifs such as: redemption through love, patriotism, and sacrifice which run throughout both of their operas. The theme of betrayal also seems to be echoed throughout both operas; yet they are each used to project a different response. The significance of this comparison demonstrates that Verdi and Wagner may allude to the same references, such as Victor Hugo, Shakespeare, and Byron, but the operas The Flying Dutchman (German opera) and that of Nabucco (Italian opera) are completely different in context, and musical style; perhaps even The Flying Dutchman is a musical imitation of Italian opera while still trying to originate his own musical ideas as well.

The Italian opera has three main genres: the Baroque, the Romantic, and the Modern. Italian opera first started to materialize in the seventeenth century, and approximately two hundred years later, the Romantic genre was introduced. Throughout the seventeenth century there were many developments in Italian opera due to Claudio Monteverdi (1567-1643), who wrote his first opera in 1607 (La Favola d'Orfeo) which to this day, is still performed. He introduced ideas such as the bel canto and buffa styles. Having a strong connection between the instrumental music and words was of major importance to Monteverdi, and this became a major theme for other opera composers to follow.

The Romantic operas started to appear in the early 19th century. Romantic operas stress the world of imagination and emotions and through its music and aria's was this theme magnified. Giuseppe Verdi (1813-1901) was one the composers of this era who changed the way composers would forever more look at operatic writing. His first successful opera Nabucco was immediately well received by the public for its amazing choruses, and vigorous music.



Cited: 1. Balthazar, Scott Leslie. Evolving conventions in Italian serious opera: scene structure in the works of Rossini, Bellini, Donizetti and Verdi. University of Pennsylvania, 1985. 2. Gentry, Theodore L. Emblems of love and death in Italian realist opera. 1992. 4. Doerner, Mark Frederick. The influence of the "Kunstmärchen" on German romantic opera. 1990. 5. Smart, Mary Ann. Mimomania : music and gesture in nineteenth-century opera. Berkeley : University of California Press, 2004. 6.Brauner, Charles Samuel. "Vincenzo Bellini and the aesthetics of opera seria in the first third ofthe nineteenth century." Doctor of Philosophy diss, Music History: Yale U., 1972. 7.Swales, Martin. "Schiller, Verdi, Wagner: Opera and the tragic mode in the nineteenth century" In: Vermittlungen: German studies at the turn of the century--Festschrift for Nigel B.R. Reeves Munchen: Iudicium, 1999. 8.Hall, Frederick Albert; Chapple, Gerald; Schulte, Hans. "The Romantic tradition: German literature and music in the nineteenth century" Series: McMaster colloquium on German studies no: 4. 1992. 9.Koury, Daniel. "The orchestra in the nineteenth century: physical aspects of its performance practice" PhD diss., Musicology: Boston U., 1981.

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