His works including 'L'Orfeo' and 'The Coronation of Poppea', who is considered to be the Father of the Opera?
"the festivals of Granada, Lucerne, Istanbul, Prague and Salzburg. In addition, The Sixteen's period orchestra have taken part in semi-staged performances of Purcell's ""Fairy Queen"" in Tel Aviv and London, a fully staged production of Purcell's ""King Arthur"" in Lisbon's Belem Centre, followed by new productions of Claudio Monteverdi's"" Il ritorno d'Ulisse in patria"" at Lisbon Opera House and ""The Coronation of Poppea"" at the English National Opera. The Sixteen have an education programme and recent projects include a series of school matinées for hundreds of primary school children in Bury St Edmunds, Liverpool and Southwell under the national Sing"
"Goehr worked from Rinuccini's original script and, as a tribute to the historic opera, incorporated sections of Monteverdi's setting of the lament into his score. Notes References Sources Lost operas by Claudio Monteverdi The Italian composer Claudio Monteverdi (1567–1643), in addition to a large output of church music and madrigals, wrote prolifically for the stage. His theatrical works were written between 1604 and 1643 and included ten operas, of which three—""L'Orfeo"" (1607), ""Il ritorno d'Ulisse in patria"" (1640) and ""L'incoronazione di Poppea"" (1643)—have survived with their music and librettos intact. In the case of the other seven operas, the music"
"Lost operas by Claudio Monteverdi The Italian composer Claudio Monteverdi (1567–1643), in addition to a large output of church music and madrigals, wrote prolifically for the stage. His theatrical works were written between 1604 and 1643 and included ten operas, of which three—""L'Orfeo"" (1607), ""Il ritorno d'Ulisse in patria"" (1640) and ""L'incoronazione di Poppea"" (1643)—have survived with their music and librettos intact. In the case of the other seven operas, the music has disappeared almost entirely, although some of the librettos exist. The loss of these works, written during a critical period of early opera history, has been much regretted"
"Prize at the London Handel Singing Competition and in 2010 was named ""Young Artist of the Year"" by the Royal Philharmonic Society. Davies' father Ioan was a long-standing cellist with the Fitzwilliam Quartet and a member of St. John's College. Davies's opera career to date has included the role of Ottone in Monteverdi's ""L'incoronazione di Poppea"" for both Zürich Opera He has appeared in concert at Teatro alla Scala with Gustavo Dudamel, at the Concertgebouw and the Tonhalle with Ton Koopman, at the Barbican, the Théâtre des Champs-Élysées and Lincoln Center, and at the Royal Albert Hall in the BBC"
"L'Orfeo L'Orfeo (SV 318) (), sometimes called La favola d'Orfeo , is a late Renaissance/early Baroque ""favola in musica"", or opera, by Claudio Monteverdi, with a libretto by Alessandro Striggio. It is based on the Greek legend of Orpheus, and tells the story of his descent to Hades and his fruitless attempt to bring his dead bride Eurydice back to the living world. It was written in 1607 for a court performance during the annual Carnival at Mantua. While Jacopo Peri's ""Dafne"" is generally recognised as the first work in the opera genre, and the earliest surviving opera is Peri's"
"was only a few decades old, the music for ""L'incoronazione di Poppea"" has been praised for its originality, its melody, and for its reflection of the human attributes of its characters. The work helped to redefine the boundaries of theatrical music and established Monteverdi as the leading musical dramatist of his time. Opera as a dramatic genre originated around the turn of the 17th century, although the word itself was not in use before 1650. Precursors of musical drama included pastoral plays with songs and choruses, and the madrigal comedies of the late 16th century. Monteverdi had already established himself"
"years later. Like most of his contemporaries, Galuppi did not hesitate to re-use his own music, sometimes simply transplanting it and at other times reworking it substantially. He was called ""the father of comic opera"" by musicians of the generation that followed him. The 21st-century editor and musicologist Francesco Luisi writes that although this description is not strictly accurate, the Galuppi–Goldoni operas were ""a genuinely new beginning for musical theatre"". In Luisi's view these works fundamentally changed the nature of opera by making the music part of the drama and not merely a decoration. Galuppi's contemporary Esteban de Arteaga wrote"
"Royal Albert Hall. Elsewhere the French-based ensemble Les Arts Florissants, under its director William Christie, presented the Monteverdi trilogy of operas (""L'Orfeo"", ""Il ritorno d'Ulisse"" and ""L'incoronazione"") in the period 2008–10, with a series of performances at the Teatro Real in Madrid. Written early in the history of opera, ""L'incoronazione di Poppea"" broke new ground in matching music to stage action, and in its musical reproductions of the natural inflections of the human voice. Monteverdi uses all the means for vocal expression available to a composer of his time—aria, arioso, arietta, ensemble, recitative—although Ringer comments that in this work the"
"performance of the opera from La Scala, Milan. Despite the reluctance of some major opera houses to stage ""L'Orfeo"", it is a popular work with the leading Baroque ensembles. During the period 2008–10, the French-based Les Arts Florissants, under its director William Christie, presented the Monteverdi trilogy of operas (""L'Orfeo"", ""Il ritorno d'Ulisse"" and ""L'incoronazione di Poppea"") in a series of performances at the Teatro Real in Madrid, ""L'Orfeo"" is, in Redlich's analysis, the product of two musical epochs. It combines elements of the traditional madrigal style of the 16th century with those of the emerging Florentine mode, in particular"
"Orfeo (Rossi) L'Orfeo (""Orpheus"") is an opera in three acts, a prologue and an epilogue by the Italian composer Luigi Rossi. The libretto, by Francesco Buti, is based on the myth of Orpheus and Eurydice. ""Orfeo"" premiered at the Théâtre du Palais-Royal in Paris on 2 March 1647. It was one of the earliest operas to be staged in France. Rossi had already written one opera, ""Il palazzo incantato"", for Rome. This aroused the interest of the French first minister, the Italian-born Cardinal Mazarin, who was eager to bring Italian culture to Paris and hired Rossi in 1646 to write"
"scope for the virtuosity of the singers. Opera had revealed its first stage of maturity in the hands of Monteverdi. ""L'Orfeo"" also has the distinction of being the earliest surviving opera that is still regularly performed today. Within a few decades opera had spread throughout Italy. In Rome, it found an advocate in the prelate and librettist Giulio Rospigliosi (later Pope Clement IX). Rospigliosi's patrons were the Barberini. Among the composers who worked in this period were Luigi Rossi, Michelangelo Rossi, Marco Marazzoli, Virgilio Mazzocchi, Stefano Landi. Since the 1630s, the subject of the works changed greatly: those of the"
"by commentators and musicologists. Opera, as a musical and theatrical genre, began to emerge during the early part of Monteverdi's career, initially as a form of courtly entertainment. With other composers, he played a leading part in its development into the main form of public musical theatre. His first opera, ""L'Orfeo"", written in 1607 for the Mantuan court, which employed him, was a major success. In the years that followed, at Mantua and in his later capacity as ""maestro di cappella"" (director of music) at St Mark's Basilica in Venice, Monteverdi continued to write theatrical music in various genres, including"
"tragedy. The theme of Orpheus, the demi-god of music, was understandably popular and attracted Claudio Monteverdi (1567–1643) who wrote his first opera, ""La Favola d'Orfeo"" (The Fable of Orpheus), in 1607 for the court of Mantua. Monteverdi insisted on a strong relationship between the words and music. When ""Orfeo"" was performed in Mantua, an orchestra of 38 instruments, numerous choruses and recitatives were used to make a lively drama. It was a far more ambitious version than those previously performed — more opulent, more varied in recitatives, more exotic in scenery — with stronger musical climaxes which allowed the full"
"Paul Lincke Carl Emil Paul Lincke (7 November 1866 – 3 September 1946) was a German composer and theater conductor. He is considered the ""father"" of the Berlin operetta and holds the same significance for Berlin as does Johann Strauss for Vienna and Jacques Offenbach for Paris. His well-known compositions include """" (""Berlin Air""), the unofficial anthem of Berlin, from his operetta ""Frau Luna""; and ""The Glow-Worm"", from his operetta ""Lysistrata"". Lincke was born on 7 November 1866 in the Jungfern Bridge district of Berlin. He was the son of magistrate August Lincke and his wife Emilie. His father played"
"and the country as a whole. Mantua is noted for its significant role in the history of opera; the city is also known for its architectural treasures and artifacts, elegant palaces, and the medieval and Renaissance cityscape. It is the place where the composer Monteverdi premiered his opera ""L'Orfeo"" and where Romeo was banished in Shakespeare's play ""Romeo and Juliet"". It is the nearest town to the birthplace of the Roman poet Virgil, who was commemorated by a statue at the lakeside park ""Piazza Virgiliana"". Mantua is surrounded on three sides by artificial lakes, created during the 12th century, as"
"from the 1740s, together with the playwright and librettist Carlo Goldoni, he became famous throughout Europe for his comic operas in the new ""dramma giocoso"" style. To the succeeding generation of composers he was known as ""the father of comic opera"". Some of his mature ""opere serie"", for which his librettists included the poet and dramatist Metastasio, were also widely popular. Throughout his career Galuppi held official positions with charitable and religious institutions in Venice, the most prestigious of which was ""maestro di cappella"" at the Doge's chapel, St Mark's Basilica. In these various capacities he composed a large amount"
"Jacopo Peri Jacopo Peri (20 August 156112 August 1633), known under the pseudonym Il Zazzerino, I was an Italian composer and singer of the transitional period between the Renaissance and Baroque styles, and is often called the inventor of opera. He wrote the first work to be called an opera today, ""Dafne"" (around 1597), and also the first opera to have survived to the present day, ""Euridice"" (1600). Peri was born in Rome, but studied in Florence with Cristofano Malvezzi, and went on to work in a number of churches there, both as an organist and as a singer. He"
"significant role in the origin of opera employing not only court singers of the concerto delle donne (till 1598), but also one of the first actual ""opera singers""; Madama Europa. Opera did not remain confined to court audiences for long. In 1637, the idea of a ""season"" (Carnival) of publicly attended operas supported by ticket sales emerged in Venice. Monteverdi had moved to the city from Mantua and composed his last operas, ""Il ritorno d'Ulisse in patria"" and ""L'incoronazione di Poppea"", for the Venetian theatre in the 1640s. His most important follower Francesco Cavalli helped spread opera throughout Italy. In"
"of these were ""La Dori"" (Venice, 1663), ""Il pomo d'oro"" (Vienna, 1668) and ""Orontea"" (1656). ""Il pomo d'oro"" (""The Golden Apple"") was written for the wedding in Vienna of Emperor Leopold I in 1666, and first performed in 1668, in a famously lavish production. It was far more elaborate than contemporary Venetian operas, including a large orchestra, numerous choruses, and various mechanical devices used to stage things like gods descending from heaven (""deus ex machina""), naval battles, and storms. ""'Orontea"" was revived seventeen times in the next thirty years, making it one of the most frequently performed operas on the"
"San Marco. His surviving letters give insight into the life of a professional musician in Italy of the period, including problems of income, patronage and politics. Much of Monteverdi's output, including many stage works, has been lost. His surviving music includes nine books of madrigals, large-scale sacred works such as his ""Vespro della Beata Vergine"" (""Vespers"") of 1610, and three complete operas. His opera ""L'Orfeo"" (1607) is the earliest of the genre still widely performed; towards the end of his life he wrote works for the commercial theatre in Venice, including ""Il ritorno d'Ulisse in patria"" and ""L'incoronazione di Poppea""."
"an old, blind man after the trial and Inquisition for his heresy, it explores his religiosity as well as his break with the church, and expands into the greater, oscillating relationship of science to both religion and art. It reaches its end with Galileo — as a young boy — watching an opera composed by his father, Vincenzo Galilei, who was a member of the Florentine Camerata, an association of artists who are credited with creating the art form that came to be known as opera. Ironically, his father's opera is about the motions of the celestial bodies. The opera"
"Carlo Opera, the Liceu in Barcelona, the Teatro Nacional Sao Carlos in Lisbon, the Teatro Colón in Buenos Aires, the San Francisco Opera, the Lyric Opera of Chicago, the Dallas Opera, etc. Although he sang a wide range of roles, Mozart and Rossini were always at the core of his repertory where his comic talent, wide-ranging voice and clear diction were shown to fine effect notably as Figaro, Leporello, Guglielmo, Mustafa, Selim, Dandini. He also enjoyed considerable success as Seneca in Monteverdi's ""L'incoronazione di Poppea"". Wladimiro Ganzarolli Wladimiro Ganzarolli (January 9, 1932 – January 13, 2010) was an Italian operatic"
"L'Orfeide L'Orfeide is an opera composed by Gian Francesco Malipiero who also wrote the Italian libretto, partly based on the myth of Orpheus and incorporating texts by Italian Renaissance poets. The work consists of three parts – ""La morte delle maschere"" (The death of the masks), ""Sette canzoni"" (Seven songs), and ""Orfeo, ovvero L'ottava canzone"" (Orpheus, or The eighth song). It received its first complete performance on 5 November 1925 at the Stadttheater in Düsseldorf. Although it is often referred to as a trilogy (or an operatic triptych), Malipiero himself described the work as one opera in three parts, with"
"motif has permeated Western culture and has been used as a theme in all art forms. Early examples include the Breton lai ""Sir Orfeo"" from the early 13th century and musical interpretations like Jacapo Peri's ""Euridice"" (1600, though titled with his wife's name, the libretto is based entirely upon books X and XI of Ovid's ""Metamorphoses"" and therefore Orpheus' viewpoint is predominant). Subsequent operatic interpretations include Claudio Monteverdi's ""L'Orfeo"" (1607), Luigi Rossi's L'Orfeo (1647), Christoph Willibald Gluck's ""Orfeo ed Euridice"" (1762), Joseph Haydn's last opera ""L'anima del filosofo, ossia Orfeo ed Euridice"" (1791), Franz Liszt's symphonic poem ""Orpheus"" (1854), Igor"
"Ottorino Respighi Ottorino Respighi (; 9 July 187918 April 1936) was an Italian violinist, composer and musicologist, best known for his trilogy of orchestral tone poems: ""Fountains of Rome"" (1916), ""Pines of Rome"" (1924), and ""Roman Festivals"" (1928). His musicological interest in 16th-, 17th- and 18th-century music led him to compose pieces based on the music of these periods. He also wrote several operas, the most famous being ""La fiamma"". Ottorino Respighi was born on 9 July 1879 in an apartment inside Palazzo Fantuzzi on Via Guido Reni in Bologna, Italy, into a musical family. His father, a local piano"
"Orfeo (Sartorio) Orfeo (""Orpheus"") is an opera in three acts by the Italian composer Antonio Sartorio. The libretto, by Aurelio Aureli, is based on the myth of Orpheus and Eurydice. It was first performed at the Teatro San Salvatore, Venice in 1672. With its clear division between arias (of which there are about 50) and recitative, the work marks a transition in style between the Venetian opera of Francesco Cavalli and the new form of opera seria. Modern reactions to the work have been mixed, with Tim Carter describing it as ""a fairly dismal example of a genre with all"
"the Renaissance. The members of the Camerata considered that the ""chorus"" parts of Greek dramas were originally sung, and possibly even the entire text of all roles; opera was thus conceived as a way of ""restoring"" this situation. ""Dafne,"" however, is lost. A later work by Peri, ""Euridice"", dating from 1600, is the first opera score to have survived to the present day. The honour of being the first opera still to be regularly performed, however, goes to Claudio Monteverdi's ""L'Orfeo"", composed for the court of Mantua in 1607. The Mantua court of the Gonzagas, employers of Monteverdi, played a"
"Serafino Amedeo De Ferrari Serafino Amedeo De Ferrari (6 May 1824 – 27 March 1885) was an Italian composer, conductor, organist, and pianist. He is best known for his operas, of which his most popular were ""Pipelè"" (1855) and ""Il Menestrello"" (1859). Born in Genoa, Ferrari studied in his native city and in Milan. He performed widely as a concert organist and pianist. In 1852 he was highly active as a conductor in Amsterdam, after which he worked as the director of singing at the Teatro Carlo Felice in Genoa. He then worked in a similar capacity at the Teatro"
"Carignano in Turin. He died in Genoa. Serafino Amedeo De Ferrari Serafino Amedeo De Ferrari (6 May 1824 – 27 March 1885) was an Italian composer, conductor, organist, and pianist. He is best known for his operas, of which his most popular were ""Pipelè"" (1855) and ""Il Menestrello"" (1859). Born in Genoa, Ferrari studied in his native city and in Milan. He performed widely as a concert organist and pianist. In 1852 he was highly active as a conductor in Amsterdam, after which he worked as the director of singing at the Teatro Carlo Felice in Genoa. He then worked"
"and then production of the opera, and the plot of the story arcs in a way that parallels the legend of King Arthur, and in particular the triangle of King Arthur, his queen, Guenevere, and Lancelot. Geraint Powell, an actor who serves on the Board of the Cornish Foundation, by deception fathers a child by Maria Cornish, forcing Arthur Cornish to choose between a generous or vindictive response. ""The Lyre of Orpheus"" explores not only the world of early eighteenth century opera, but also follows Darcourt's research into the life of the benefactor and artist, Francis Cornish, leading to a"
"Christoph Willibald Gluck Christoph Willibald (Ritter von) Gluck (; born on 2 July, baptized 4 July 1714 – 15 November 1787) was a composer of Italian and French opera in the early classical period. Born in the Upper Palatinate and raised in Bohemia, both part of the Holy Roman Empire, he gained prominence at the Habsburg court at Vienna. There he brought about the practical reform of opera's dramaturgical practices for which many intellectuals had been campaigning. With a series of radical new works in the 1760s, among them ""Orfeo ed Euridice"" and ""Alceste"", he broke the stranglehold that Metastasian"
"Carlos in Lisbon. He died in Catania at the age of 82. Pietro Antonio Coppola Pietro Antonio Coppola (11 December 1793 – 13 November 1876) was an Italian composer and conductor. Born in Castrogiovanni, he was trained by his father and at the Naples Conservatory. He is chiefly known for his many operas, of which his most famous, ""Nina pazza per amore"", premiered at the Teatro Valle in Rome in February 1835. While his works have rarely been performed after the 19th century, during his lifetime they enjoyed success in major opera houses in Italy, France, Portugal, and Spain. As"
"""Euridice"", ""L'Orfeo"" is the earliest that is still regularly performed. By the early 17th century the traditional intermedio—a musical sequence between the acts of a straight play—was evolving into the form of a complete musical drama or ""opera"". Monteverdi's ""L'Orfeo"" moved this process out of its experimental era and provided the first fully developed example of the new genre. After its initial performance the work was staged again in Mantua, and possibly in other Italian centres in the next few years. Its score was published by Monteverdi in 1609 and again in 1615. After the composer's death in 1643 the"