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In the second period, the Empire and the Third Republic - this is not the heroic age, to embody the heroic bourgeois social issues theater could no longer. As for the comic opera, the opera, written in the 50s and 60s, far inferior to its artistic significance of his operas earlier years. Her best traditions of refracted in the genre of French classical operetta - a typical generation Parisian theatrical life during the Second Empire.
But in the operettas of Offenbach sound and other song and dance tunes: waltz, tarantella, gallop, and barcarolle. In some operettas of Offenbach, breaks intimate lyrical flow, which found fullest expression in his last work - lyrical and fantastical opera "The Tales of Hoffmann" (1880), delivered posthumously in 1881.
In the opera the most progressive area in the Second Empire and the Third Republic, was the French lyric opera replacing the pompous, stilted, a decorative "big" opera.
Even in opera libretto based on literary works of world classics social or philosophical idea receded into the background and accentuated the drama of love, sometimes acquired a sentimental, mawkish tone.
Transfer of feelings and emotions of the main characters of the opera, melody, closely related to the French romance and song or folk-dance culture - all contributed to the democratization of the opera, making it accessible.
Lyric Opera House in line was centered in the love scenes, duets, Cavatina, in the aria or arias love the content and the rest was a foreign background. All this gave the music of the opera lyric soft color. In some operas, romantic themes become important leitmotiv, is such a beautiful, though not too deep, the love theme of Werther and Charlotte in the opera "Werther." |