Changes

The second half of the 18th century, in opera, belongs to two composers. In 1762 Christophe Willibald [[Gluck]] wrote ''Orpheo et Euridice'', the first of his “reform” operas. There is a simplicity and clarity in this work not seen before in opera (he had done much the same thing to ballet the year before with ''Don Juan'' - the two actually share some storm music.) The arias were part of the narrative instead of the story going “on hold” whilst singers let loose their virtuosity to an admiring, though increasingly bored public – opera suddenly became a truly dramatic art form with the music serving the poetry, the narrative and the tension between characters.  

The second half of the 18th century, in opera, belongs to two composers. In 1762 Christophe Willibald [[Gluck]] wrote ''Orpheo et Euridice'', the first of his “reform” operas. There is a simplicity and clarity in this work not seen before in opera (he had done much the same thing to ballet the year before with ''Don Juan'' - the two actually share some storm music.) The arias were part of the narrative instead of the story going “on hold” whilst singers let loose their virtuosity to an admiring, though increasingly bored public – opera suddenly became a truly dramatic art form with the music serving the poetry, the narrative and the tension between characters.  

Gluck’s innovations were continued by the great W. A. [[Mozart]]. There are half a dozen or so operas by this giant that at or near the top of the operatic pile. Somewhere in the world today a major opera house is preparing for, or performing, one of these works written within the ten years from 1781, starting with ''Idomeneo'' and finishing with the fantastical, lyrical and wondrously entertaining ''The Magic Flute''. ''Don Giovanni'' is generally considered his best, and is the earliest opera to have remained constantly in the repertoire unchanged from its inception (1787).

Gluck’s innovations were continued by the great W. A. [[Mozart]]. There are half a dozen or so operas by this giant that at or near the top of the operatic pile. Somewhere in the world today a major opera house is preparing for, or performing, one of these works written within the ten years from 1781, starting with ''Idomeneo'' and finishing with the fantastical, lyrical and wondrously entertaining ''The Magic Flute''. ''[[Don Giovanni]]'' is generally considered his best, and is the earliest opera to have remained constantly in the repertoire unchanged from its inception (1787).

The first half of the 19th century saw [[Beethoven]]’s only opera, ''Fidelio'', the rise of “bel canto” (literally “beautiful singing”, exemplified by the prodigious [[Gioacchino Rossini]], and his more serious Italian compatriots Bellini and Donizetti), and the advent of the [[Romantic period (music)| romantic]] era, generally held to be introduced by [[Carl Maria von Weber]]’s ''Der Freishütz'' in 1821. French opera was fortunate to be served by a series of first rate works – still regularly performed – by Meyerbeer (German born, but all his major works written and performed in Paris); [[Hector Berlioz]] and Daniel Auber. A younger generation kept the tricolour flying: [[Georges Bizet]] wrote what is possibly the most popular opera of all time, ''Carmen'' and possibly the most popular duet (''In the Depths of the Temple'' from ''The Pearlfishers''). Russian opera made its international debut with  [[Glinka]]’s ''A Life for the Tsar'' followed by the still extremely popular ''Russlan and Ludmila''.  A later generation of Russian nationalists (Mussorgsky, Rimsky-Korsakov) and the [[Bohemia]]ns [[Bedrich Smetana]] and [[Antonin Dvorak]] wrote operas reflecting the life, history or traditions of their regions in a tradition that would continue into the 20th century with [[Leos Janacek]].  

The first half of the 19th century saw [[Beethoven]]’s only opera, ''Fidelio'', the rise of “bel canto” (literally “beautiful singing”, exemplified by the prodigious [[Gioacchino Rossini]], and his more serious Italian compatriots Bellini and Donizetti), and the advent of the [[Romantic period (music)| romantic]] era, generally held to be introduced by [[Carl Maria von Weber]]’s ''Der Freishütz'' in 1821. French opera was fortunate to be served by a series of first rate works – still regularly performed – by Meyerbeer (German born, but all his major works written and performed in Paris); [[Hector Berlioz]] and Daniel Auber. A younger generation kept the tricolour flying: [[Georges Bizet]] wrote what is possibly the most popular opera of all time, ''Carmen'' and possibly the most popular duet (''In the Depths of the Temple'' from ''The Pearlfishers''). Russian opera made its international debut with  [[Glinka]]’s ''A Life for the Tsar'' followed by the still extremely popular ''Russlan and Ludmila''.  A later generation of Russian nationalists (Mussorgsky, Rimsky-Korsakov) and the [[Bohemia]]ns [[Bedrich Smetana]] and [[Antonin Dvorak]] wrote operas reflecting the life, history or traditions of their regions in a tradition that would continue into the 20th century with [[Leos Janacek]].