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Opera Hero

Titel:	Opera Hero
Verfasser:	Seedorf, Thomas
Körperschaft:	Sonderforschungsbereich 948 - Helden, Heroisierungen, Heroismen (Mitwirkender)
Ausgabe:	Version 1.0, published 17 March 2023
Veröffentlicht:	Freiburg : Universität, 2023
Umfang:	1 Online-Ressource
Format:	E-Book
Sprache:	Englisch
Schriftenreihe/ mehrbändiges Werk:	Compendium heroicum. das Online-Lexikon des Sonderforschungsbereichs 948 „Helden – Heroisierungen – Heroismen“
Schlagworte:	Held Heldentenor Heroisierung Kastrat Musikgeschichtsschreibung Musiktheater Mythologie Oper Sänger

Zusammenfassung:	Abstract: Opera emerged on the threshold of the 16th and 17th centuries in Italy as part of a courtly festive culture harkening back to antiquity. The new genre quickly gained popularity in other countries over the course of several decades in the 17th century. Some courts adopted the Italian model, others adapted this model to national or local traditions. In France, the ballet de cour gave rise to an independent form of opera, the tragédie en musique, which was based on the structure and demands of classical drama and integrated dances and choirs into the dramaturgy.<br>Although opera remained closely associated with the idea of courtly representation until the 19th century, it became a genre that also addressed a broader public as early as the 17th century. This happened first in the opera houses of the wealthy commercial city of Venice, which attracted an affluent international audience, and later in free trading cities of the German Empire such as Hamburg and Leipzig. Finally, in the 19th century, a time of extensive bourgeoisification and urbanisation of culture, opera reached wide circles of bourgeois society, and those circles’ need for representation and identification increasingly affected the conception of music-theatrical works

Zusammenfassung:

Abstract: Opera emerged on the threshold of the 16th and 17th centuries in Italy as part of a courtly festive culture harkening back to antiquity. The new genre quickly gained popularity in other countries over the course of several decades in the 17th century. Some courts adopted the Italian model, others adapted this model to national or local traditions. In France, the ballet de cour gave rise to an independent form of opera, the tragédie en musique, which was based on the structure and demands of classical drama and integrated dances and choirs into the dramaturgy.<br>Although opera remained closely associated with the idea of courtly representation until the 19th century, it became a genre that also addressed a broader public as early as the 17th century. This happened first in the opera houses of the wealthy commercial city of Venice, which attracted an affluent international audience, and later in free trading cities of the German Empire such as Hamburg and Leipzig. Finally, in the 19th century, a time of extensive bourgeoisification and urbanisation of culture, opera reached wide circles of bourgeois society, and those circles’ need for representation and identification increasingly affected the conception of music-theatrical works

Opera Hero

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