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Mozart's comic operas are among the masterworks of Western civilization, and yet the musical environment in which Mozart and his librettist Lorenzo da Ponte wrote these now-popular operas has received little critical attention. In this richly detailed book, Mary Hunter offers a sweeping, synthetic view of opera buffa in the lively theatrical world of late-eighteenth-century Vienna. Opera buffa (Italian-language comic opera) persistently entertained audiences at a time when Joseph was striving for a German national theater. Hunter attributes opera buffa's success to its ability to provide "sheer" pleasure and hence explores how the genre functioned as entertainment. She argues that opera buffa, like mainstream film today, projects a social world both recognizable and distinct from reality. It raises important issues while containing them in the "merely entertaining" frame of the occasion, as well as presenting them as a series of easily identifiable dramatic and musical conventions. Exploring nearly eighty comic operas, Hunter shows how the arias and ensembles convey a multifaceted picture of the repertory's social values and habits. In a concluding chapter, she discusses Cos" fan tutte as a work profoundly concerned with the conventions of its repertory and with the larger idea of convention itself and reveals the ways Mozart and da Ponte pointedly converse with their immediate contemporaries.

Mozart's comic operas are among the masterworks of Western civilization, and yet the musical environment in which Mozart and his librettist Lorenzo da Ponte wrote these now-popular operas has received little critical attention. In this richly detailed book, Mary Hunter offers a sweeping, synthetic view of opera buffa in the lively theatrical world of late-eighteenth-century Vienna. Opera buffa (Italian-language comic opera) persistently entertained audiences at a time when Joseph was striving for a German national theater. Hunter attributes opera buffa's success to its ability to provide "sheer" pleasure and hence explores how the genre functioned as entertainment. She argues that opera buffa, like mainstream film today, projects a social world both recognizable and distinct from reality. It raises important issues while containing them in the "merely entertaining" frame of the occasion, as well as presenting them as a series of easily identifiable dramatic and musical conventions. Exploring nearly eighty comic operas, Hunter shows how the arias and ensembles convey a multifaceted picture of the repertory's social values and habits. In a concluding chapter, she discusses Cos" fan tutte as a work profoundly concerned with the conventions of its repertory and with the larger idea of convention itself and reveals the ways Mozart and da Ponte pointedly converse with their immediate contemporaries.

During the years between 1750 and 1850, the Plains Indian nations achieved a way of life rich and sophisticated in its every dimension: religion, heritage, tradition, government, family life, social life, crafts, hunting skills and warfare. Along with these accomplishments came a profusion of splendid ceremonies, costumes and regalia ranking with the finest the world has ever seen. The greater part of these by far were directly associated with the warrior societies, civil societies and cults. It is these societies and cults that Thomas E. Mails examines closely, with skill and perception, in this handsome and fascinating book. Illustrated with meticulous pen-and-ink and charcoal drawings, and with paintings in glowing color, Dog Soldiers, Bear Men and Buffalo Women brings alive for the reader the intricate, inventive beauty of Indian costume and regalia as words alone could not do. The text and the pictures combine into a handsome and fascinating whole, a soaring evocation of the central aspect of a life-way tragically gone. For if it were still in existence in its fullness, it would enrich our lives immeasurably, whatever the color of our skins, today.

In a time when operas are often set to different contexts from the ones they were intended for, a philological production has its merits, representing both a rediscovery and a provocation. This Barbiere di Siviglia, which at first sight might appear old-fashioned, restores, in fact, to perfection the setting of an early 19th-century Italian theatre. It was a time when the glorious tradition of popular comedy, a direct descendant of the 16th-century commedia dellarte, was very much alive, an

Chanson de Parachafrom the Opera Buffa MavraPublisher: Boosey & HawkesCategory: VocalSeries: Boosey & Hawkes Scores/BooksFormat: Paperb...

Composer: Jacques Offenbach Die Grossherzogin von Gerolstein Opera Buffa in Four Acts Publisher: Bote & Bock Category: Band/Orchestra/Ensem...

Composer: Dominick ArgentoCasanova's HomecomingOpera Buffa in Three ActsPublisher: Boosey & HawkesCategory: VocalSeries: BH Stage WorksFor...

Composer: Dominick ArgentoThe BoorOpera Buffa in One ActPublisher: Boosey & HawkesCategory: VocalSeries: BH Stage WorksFormat: SoftcoverLi...

An opera buffa in one act by Offenbach, in Germany mainly known under the title of 'Salon Pritzelsberger', which has enjoyed continuous popularity ...

Composer: Jacques OffenbachMonsieur Choufleuri Restera Chez Lui Le...Opera Buffa in One Act Vocal ScorePublisher: Bote & BockCategory: Vocal...

Composer: Dominick ArgentoCasanova's HomecomingOpera Buffa in Three ActsPublisher: Boosey & HawkesCategory: VocalSeries: BH Stage WorksFor...

Composer: Jacques OffenbachRitter EisenfrassOpera Buffa in One ActPublisher: Bote & BockCategory: VocalSeries: BH Stage WorksFormat: Paper...

The Ghosts of VersaillesA Grand Opera Buffa in Two ActsPublisher: G. Schirmer, Inc.Category: VocalSeries: Vocal ScoreFormat: SoftcoverSuggested...

This study aims to show that Hoffmann drew on his own psychic experiences relevant to sexuality, and that he also was writing in a broad literary tradition of roguish sexual humor and ironic portrayal of the psychology of desire that had survived to his time in «opera buffa» and comic theater generally, as well as in certain vestiges of the eighteenth-century «conte licencieux». (In a second volume, «Part Two: Interpretations of the Tales», this perspective will be used to provide new readings of each of Hoffmann's four-dozen tales and of his two novels.)

Composer / Author: Mozart, Wolfgang Amadeus Title: The Marriage of Figaro K. 492 Opera buffa in four acts Translator / Further participants: Brieger, Nicolas / Layer, Friedemann

Le nozze di Figaro (1786) was Mozart's first mature opera buffa. It was also the first of his three major collaborations with the librettist Lorenzo da Ponte. Unlike Don Giovanni (1787) and Così fan tutte (1790), Figaro has few obvious problems, and even if it is not without flaws, it nevertheless contains a remarkable mixture of all those elements that go to produce a good opera: a sound plot, a well-structured text and fine music. This opera handbook examines the work from historical and musical perspectives, to set it in the context of Mozart's age.

Il Barbiere di Siviglia is one of the very greatest of all comic operas. Verdi wrote of it: "For the abundance of true musical ideas, for its comic verve and the accuracy of its declamation, it is the most beautiful opera buffa there is." For generations, since the opera's premiere in Rome in 1816, opera lovers have agreed with Verdi's praise, making it one of the most popular and frequently performed and recorded operas ever written.Based on an excellent play by Beaumarchais, The Barber of Seville delights audiences with its keenly sketched characters, melodic elegance, rhythmic exhilaration, superb ensemble writing, and original, delightful orchestration. The work seems to have been written in a fever of inspiration. In his biography of the composer, Rossini: The Man and His Music, Francis Toye remarks: "Every situation, almost every idea, seems to have suggested to him one musical train of thought after another, nearly all equally felicitous. Indeed, the spontaneity of the score is such that one has an impression of music spouting from his pen, as it were, under high pressure."Now opera lovers can enjoy every note of the whole glorious masterpiece in this modestly priced publication, reproduced directly from the authoritative edition published by Ricordi. It belongs in the library of any music lover who wishes to study and absorb the innumerable felicities of one of the supreme achievements of comic opera.

From fake potions and feigned emotions to the follies of youth and the vulnerability of age, this set brings together two of Donizetti's greatest comedies, L'elisir d'amore and Don Pasquale, charming works packed with musical wit in which the composer looks beyond the archetypes of the Buffa tradition to create complex, highly individual characters. Both operas are brought to life in sparkling Glyndebourne productions, with first-class singing from such noted artists as Alessandro Corbelli, Dani

Rossini's comic masterpiece The Barber of Seville was based on Pierre-Augustin Caron de Beaumarchais's French play Le Barbier de Sville and is the ultimate opera buffa. The score is a compendium of the composer's wittiest and most brilliant writing, and includes the famous entrance aria Largo al factotum and a raft of superbly dynamic ensembles. This vibrant and youthful production features Florian Sempey, one of the world's best Figaros, the 'Rossini tenor' Michele Angelini, vivacious and crit

Wolf-Ferrari's comic opera La Vedova Scaltra (The Cunning Widow), is among the works he based on plays by Goldoni. It matches closely the conventions of 18th-century opera buffa in it's witty if skeptical look at the mechanisms governing the interplay of human relations. This production, filmed live at the Teatro La Fenice in February 2007 in celebration of the 300th anniversary of the birth of Goldoni in Venice in 1707, is the first to appear on DVD. Anne-Lise Sollied, Maurizio Muraro, and Eman