I. terminology
"Opera buffa" is a generic term for Italian-language comic opera beginning of the 18th Century to the early decades of the 19th Century. The opera buffa has a variety of names: "Commedia per musica", in the early Neapolitan librettist also "Commeddeja pe 'museca", or "dramma giocoso per musica," "Dramma bern esco" in allusion to the show came through satire poet Francesco Berni (1497-1535) and at the same librettist of the mid 17th Century, but and "Farsa" or "Farsetta" and "Melodrama giocoso" occur. The above names appear on the front pages of the libretto prints, which are simultaneously a document of their performance.
to the concept of diversity, there are some practical examples ". Melodrama giocoso" The opera "Un giorno DI REGNO" by Giuseppe Verdi Verdi officially called it simplistic to say "Opera buffa". The three operas of Mozart "Le nozze di Figaro" (1786), "Don Giovanni" (1787) and "Cosi fan tutte" (1790) to librettos by Lorenzo da Ponte are by Mozart himself in his' List all my works "(1784)" Opera buffa called. Officially, these "Commedia per musica" were, and the latter two "dramma giocoso" called.
The French "bouffon Opera" is a term borrowed from the Italian and refers to the 18th Century, both the Italian opera buffa, as well as the translation into French. Occasionally, the designation for the "Opera Comique" was used. The "Opéra bouffe" stands outside the traditional genres of opera buffa. This term came up in 1850 and described the French operetta.
II distribution
comic elements have been present in the early days of Italian opera. A special position is occupied by the comic operas of Naples, from 18 Century were listed. The Neapolitan tradition developed conspicuous traits independent and solidified more than was the case elsewhere. Naples became the real starting point of the history of opera buffa. The two main theaters of that time were "Teatro dei Fiorentini" and "Teatro di San Bartolomeo", said the opera was seria reserved. The "Teatro dei Fiorentini, however, specialized in the opera buffa. In 1724 there were two further Theater "Teatro Nuovo" and "Teatro della Pace." The "Commedie per musica" were first held exclusively in the Neapolitan dialect. The earliest evidence of a "commedia in musica" is the opera "La Cilla" on a text by Francesco Antonio Tullio and with music by Faggioli Michelangelo (1666-1733). From 1710 also address important personalities of the opera buffa. Alessandro Scarlatti's Il Trionfo dell'onore "(1718) is an example to the younger generation but also with L. Vinci, JA Hasse, Pergolesi GB and DN Sarro must be named. A score obtained in the Neapolitan dialect, "Li deficits, ngalera" (1722) by L. Vinci. From 1729 was the Neapolitan "Commedia per musica "no longer a local tradition of comic opera. The renowned Neapolitan librettist Bernardo Saddumene organized in Rome a guest performance with the plays "La costanza" (an adaptation of Vinci's "Li deficits, ngalera") and "La somiglianza" both with music by G. Fischietti. For the "export" the Neapolitan dialect was pushed back in favor of the Tuscan. The guest performance was successful, was that the "Teatro Valle" within a very short time, a new center of opera buffa. At the same time, Rome became the hub for switching to central and northern Italy for most successful pieces. For Rome written librettos consisted of adaptations of Neapolitan Opere buffe or drama comedy. "La commedia in commedia" (1738), "La libertà nociva" (1740), both of Rinaldo di Capua, and "Madama Ciana" (1738) were the success of Latilla pieces. Of the Neapolitan Commedie per musica "was" Gismondo "and famous for Ferderico Latilla, especially after the reworking of" La finta Cameriera. "The work was performed in 1750 alone in 20 different theaters. Moreover, this is the first comic opera, which has also reached Venice. After a short time Venice was a center of nursing comic operas, and also the starting point for the dissemination of the pieces in northern Italy and Europe. As it was in Naples were interested in the genre initially less famous composers from northern Italy as Giacomo Maccari, GM Orlandini, G. Scolari, Natale Resta and F. Bertoni. The other center was still Naples. Successful librettists were Giovanni Battista Lorenzi, Mililotti Pasquale and Antonio Palomba. As composers were P. Anfossi, N. Piccinni, PA Guglielmi, G. Paisiello and Cimarosa D. forth. Another high-profile composer was G. Gazzaniga and the librettist Lorenzo da Ponte and Bertrati Giovanni (Mozart's librettist) were also of great importance. "La buona figliuola" (1762) by Goldoni (the famous author of plays of the "Commedia dell'arte") and Piccinni was the most popular comic opera of his time. At a certain point could also be successful and important pieces, which was the first time outside Italy come to the stage. Against the opera buffa, but France resisted. The two-year-old guest of the Italian opera buffa troupe, led by Eustachio Bambini, became the occasion of a controversy that is as "Querelle of Bouffons" in history.
The Opera buffa was handed down in principle by hand. As with each of opera seria Opera buffa was processed at a re-release. It was were called to the adaptations "Farsa" and "Intermezzo", where the number of people and scenes have been reduced. Libretto and composition were not separated, multiple settings of the same libretto are not uncommon. Soon it was also a specialization of singers on the ridiculous subject, for the less vocal virtuosity but acting presence was required. Again, there were singers personalities, who specialized in certain roles and influenced the dissemination of such works. The spread of opera buffa and the many traveling companies were responsible.
From the 1780s, the proliferation of opera buffa gradually after, as the sentimental embossed Opera seria in the semi traffic.
III. Nature of the species
is the secret of the opera buffa, the combination of spoken comedy, dramma per musica. The librettos are based on comic materials, types and situations of everyday life. The consolidation of the written comedy went hand in hand with the development of opera buffa. From the "dramma per musica" the Opera takes buffa the external organization, such as the Opera House, the singer Force, Stagionenbetrieb, etc., but also the formal grid of how the system into a multi-movement Sinfonia and three acts, hierarchically differentiated roles ( average of seven), and the schematic Cembalobegleitetem sequence of recitative and aria, the rough distinction between action and dialogue in the contemplation of the recitative and aria. By the time of the original recitative dialogue at the beginning of the opera was designed as a musical number and also the final (eg chain finale of collapsing in the events) was more complex. The aria of the opera buffa is not, as in the aria of the opera seria of the representation of affect, but rather is applied at a distance and refraction. The obligated form of da capo aria was abandoned in favor of a two-part systems. This allowed a greater use of folk melodies, their own typesetting features developed and kleingliedrig-agile designs, preferring song-like sequences, the fast, poorly differentiated motifs parlando. The comic opera thrives on the theatrical event. Facial expressions and gestures, and the costume are essential components, as well as the scenic view. With the opera buffa and the composer enters into a new relationship with the librettist. The composer is stronger in the conception of the opera buffa involved, so that the generic development was influenced by the composer. Intensive phase of cooperation have encouraged fruitful friendships, such as Goldoni and Galuppi or Da Ponte and Mozart.
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