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Nov 14, 2024 · A complex, often costly variety of musico-dramatic entertainment, opera has attracted both supporters and detractors throughout its history and has sometimes been the target of intense criticism. Its detractors have viewed it as an artificial and irrational art form that defies dramatic verisimilitude.
Independent Scholar. October 2004. Opera, whose name comes from the Italian word for a work, realizes the Baroque ambition of integrating all the arts. Music and drama are the fundamental ingredients, as are the arts of staging and costume design; opera is therefore a visual as well as an audible art. Throughout its history, opera has reflected ...
Opera is a form of Western theatre in which music is a fundamental component and dramatic roles are taken by singers. Such a "work" (the literal translation of the Italian word "opera") is typically a collaboration between a composer and a librettist [1] and incorporates a number of the performing arts, such as acting, scenery, costume, and ...
Jan 1, 2009 · An exotic and irrational entertainment: Opera and our others; opera as other. January 2009; ... opera is not a realistic art form it has often been argued that subjects that are not . 4.
- Nicholas Till
Mar 31, 2014 · The Cost of Opera. March 31, 2014 by Speight Jenkins Leave a Comment. In 1763, just when Christoph Willibald Glueck was in the process of reforming opera and creating the art form as we know it today, Samuel Johnson described opera as “an exotic and irrational entertainment.”. Its irrationality comes from its inability to pay its way and ...
- Speight Jenkins
Dec 5, 2012 · One of the most often-quoted descriptions of opera is that of Dr Samuel Johnson, who famously defined opera in the mid-eighteenth century as ‘an exotic and irrational entertainment’. Johnson’s response to opera was at one with a prevailing English attitude of curmudgeonly roast-beef-and-ale xenophobia presented as bluff common sense, and was aimed primarily at Italian opera.
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have been made on opera as an art-form? Addison in early num-bers of the Spectator satirized the English texts, the Italian actors, the use of a foreign tongue, and the nonsensical character of the drama. Voltaire said that what is too silly to be said is sung. Samuel Johnson denounced opera as an "exotic and irrational
