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38:
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479:. Whereas earlier French comic operas had a mixture of sentiment and humour, Offenbach's works were intended solely to amuse. Though generally well crafted and full of humorous satire and grand opera parodies, plots and characters in his works were often interchangeable. Given the frenetic pace at which he worked, Offenbach sometimes used the same material in more than one opera. Another Frenchman who took up this form was
1176:
1331:), and the creators themselves wrote works in this style with other collaborators in the 1890s. None of these, however, had lasting popularity, leaving the Savoy Operas as practically the sole representatives of the genre surviving today. Only recently, some of these other English light operas have begun to be explored by scholars and to receive performances and recordings.
385:
1458:, depending on whether they are performed in opera houses or in theaters. In addition, some recent American and British musicals make use of an operatic structure, for example, containing recurring motifs, and may even be sung through without dialogue. Those with orchestral scores are usually styled "musicals", while those played on
317:
and even strong supporting orchestral parts, including a strong "stand-alone" overture (i.e., you could even enjoy the overture as an independent orchestral piece). Verdi was also enthusiastic because the music was by a southern
Italian and the text by a northerner, which appealed to Verdi's pan-Italian vision.
1170:
The stage was at a low ebb, Elizabethan glories and
Georgian artificialities had alike faded into the past, stilted tragedy and vulgar farce were all the would-be playgoer had to choose from, and the theatre had become a place of evil repute to the righteous British householder.... A first effort to
678:
in the 17th century, is rooted in popular
Spanish traditional musical theatre. It alternates between spoken and sung scenes, the latter incorporating dances, with chorus numbers and humorous scenes that are usually duets. These works are relatively short, and ticket prices were often low, to appeal
316:
the "first true
Italian comic opera" – that is to say, it had everything: it was in standard Italian and not in dialect; it was no longer simply an intermezzo, but rather an independent piece; it had a real story that people liked; it had dramatic variety; and, musically, it had strong melodies
743:("The Loveless Jungle, A Drama with Orchestra"). The instruments orchestra was hidden from the audience, the actors sang in harmony, and the musical composition itself was intended to evoke an emotional response. Some of these early pieces were lost, but
1201:(seven months after its French première) ignited the English appetite for light operas with more carefully crafted librettos and scores, and continental European operettas continued to be extremely popular in Britain in the 1860s and 1870s, including
268:
between acts of more serious works. Neapolitan and then
Italian comic opera grew into an independent form and became the most popular form of staged entertainment in Italy from about 1750 to 1800. In 1749, thirteen years after Pergolesi's death, his
1374:
in 1894, were styled "comic operas", but his later works were described as "musical extravaganza", "musical comedy", "musical play", "musical farce", and even "opera comique". His two most successful pieces, out of more than half a dozen hits, were
95:
The influence of the
Italian and French forms spread to other parts of Europe. Many countries developed their own genres of comic opera, incorporating the Italian and French models along with their own musical traditions. Examples include German
1154:, as well as bawdy, badly translated continental operettas, often including "ballets" featuring much prurient interest, and visiting the theatre became distasteful to the respectable public, especially women and children. Mr. and Mrs.
1367:
was one of the first to pick up the family-friendly style of light opera that
Gilbert and Sullivan had made popular, although his music was also influenced by the European operetta composers. His earliest pieces, starting with
1099:. This work was commissioned by the Bolshoi theatre and premiered on March 23, 2005. The staging of the opera was accompanied by juicy scandal; however it was an enormous success.
1071:, and the creative collective "Kompozitor", which is a pseudonym for the well-known music critic Pyotr Pospelov. The libretto is by Elena Polenova, based on a folk-drama,
766:
returned to its roots in popular
Spanish tradition in works such as the sainetes (or Entr'actes) of Don RamĂłn de la Cruz. This author's first work in this genre was
178:. The opera has a farcical plot, and the characters of the ridiculous guardian Trespolo and the maid Despina are prototypes of characters widely used later in the
870:
1543:
1286:, Carte formed a syndicate in 1877 to perform "light opera of a legitimate kind". Gilbert and Sullivan were commissioned to write a new comic opera,
1454:
797:
battled on at the Teatro de la
Zarzuela de Madrid, but with little success and light attendance. In spite of this, in 1873 a new theater, the
1446:
The line between light opera and other recent forms is difficult to draw. Several works are variously called operettas or musicals, such as
868:, with music by an unknown composer, consisting of a selection of popular songs specified in the libretto. Another successful comic opera,
1047:
The 21st century in
Russian comic opera began with the noisy premieres of two works whose genre could be described as "opera-farce":
408:
751:
and Juan VĂ©lez, which premiered in 1672, survives and gives us some sense of what the genre was like in the 17th century.
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1589:
Comic Opera Guild site, includes light opera information about translations, orchestrations, festivals, recordings, etc.
1197:
59:, is a sung dramatic work of a light or comic nature, usually with a happy ending and often including spoken dialogue.
1242:, one of the impresarios aiming to establish an English school of family-friendly light opera by composers such as
852:
526:
1158:, beginning in 1855, and a number of other Britons, deplored the risqué state of musical theatre and introduced
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199:(1718). At first written in Neapolitan dialect, these works became "Italianized" with the operas of Scarlatti,
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In late 17th-century Italy, light-hearted musical plays began to be offered as an alternative to weightier
17:
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Thuleen, Nancy. "Serious and Comic Opera in Eighteenth-Century Italy." Website Article. 6 December 1991.
1422:, that explored more serious subjects and featured a tight integration among book, movement and lyrics.
1622:
1282:. Eager to liberate the English stage from risqué French influences, and emboldened by the success of
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911:
who composed more 30 opera-vaudevilles and 6 grand operas (most of them with spoken dialogue). Later,
805:, which shared the failures of the Teatro de la Zarzuela, until it was forced to change its program to
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designed to be more family-friendly and to elevate the intellectual level of musical entertainments.
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developed in 18th-century Vienna and spread throughout Austria and Germany. As in the French
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The Gilbert and Sullivan style was widely imitated by their contemporaries (for example, in
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927:("The Marriage"), which he left unfinished (they were completed only in the 20th century).
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French composers eagerly seized upon the Italian model and made it their own, calling it
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continued to perform Gilbert and Sullivan almost continuously until it closed in 1982.
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as a countermeasure to the continental operettas, commissioned Clay's collaborator,
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By the second half of the 19th century, the London musical stage was dominated by
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came to refer to any opera that included spoken dialogue, including works such as
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incorporated elements of the British and American light operas, with works like
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In the 20th century, the best examples of comic opera by Russian composers were
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first developed in late 17th-century Italy. By the 1730s, a new operatic genre,
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was performed for the first time on 11 July 1889 at Martin's Opera House in
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The genre was developed further in the first half of the 19th century by
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was an opera with spoken dialogue, and usually a comic subject, such as
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1529:
reprinted at The Gilbert and Sullivan Archive, accessed 7 November 2009
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1121:, typically a comic play that incorporated songs set to popular tunes.
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31:
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This article is about the musical genre. For Robert Wyatt album, see
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also wrote a series of successful comic operas in the 18th century.
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1079:, St Petersburg. Prize "Gold Mask, 2002" and "Gold Soffit, 2002".
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In the 19th century, Russian comic opera was further developed by
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145:
431:. Although originally reserved for less serious works, the term
1274:
partnership. "Mr. R. D'Oyly Carte's Opera Bouffe Company" took
1175:
1068:
860:
818:
711:–1950), which can be further divided into the two subgenres of
558:(1821), retained the form, but explored more serious subjects.
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449:
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998:(1927–1928, staged 1930). Simultaneously, the genres of
831:. It was followed by the comic operas of other Italians, like
384:
1334:
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675:
445:
63:
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on tour, playing it alongside French works by Offenbach and
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composed in the Gilbert and Sullivan style of light opera.
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In the 18th century, the Italian operatic style influenced
1300:, which Carte later built for these works) that included
821:, in 1731, was a comic opera (or "commedia per musica"),
486:
1171:
bridge the gap was made by the German Reed Entertainers.
1059:. A collective project of five authors wrote the work:
352:(1843), but declined in the mid-19th century, despite
1565:
at the Musical Theatre Guide, accessed 4 January 2009
871:
The miller who was a wizard, a cheat and a matchmaker
679:
to the general public. There are two main forms of
78:. It quickly made its way to France, where it became
365:
1513:
at the stagebeauty website, accessed 4 January 2009
1292:, starting the series that came to be known as the
273:swept Italy and France, evoking the praise of such
264:At first, comic operas were generally presented as
1075:, and the work premiered on June 20, 2001, at the
1102:
770:("The Reapers of Vallecas", 1768), with music by
1604:
1195:Nevertheless, an 1867 production of Offenbach's
1117:England traces its light opera tradition to the
758:. But beginning with the reign of Bourbon King
1225:collaborated with several composers, including
453:that are not "comic" in any sense of the word.
1485:at Theatrehistory.com, accessed 4 January 2009
1318:, which became popular around the world. The
1143:, was expressly described as "a comic opera".
1067:, Iraida Yusupova and Vladimir Nikolayev from
1551:Who Was Who in the D'Oyly Carte Opera Company
1497:, Mary S. Van Deusen, accessed 4 January 2009
1390:Others who wrote in a similar vein included
1213:and others into the 1880s, often adapted by
1130:was the earliest and most popular of these.
294:to a text by the great Venetian playwright,
249:, 1792), and then the great comic operas of
84:, and eventually, in the following century,
42:
727:was the first playwright to adopt the term
475:quickly surpassed him, writing over ninety
1335:North American operetta and musical comedy
785:(the "little genre" or "little form") and
1505:
1503:
1348:
1174:
573:is remembered mainly for his overtures.
403:. Early proponents included the Italian
388:Poster for a 19th-century production of
383:
140:
36:
92:as its most accomplished practitioner.
27:Sung drama of a light or comedic nature
14:
1605:
1014:, were developed by such composers as
812:
459:is credited as the inventor of French
127:
1500:
762:, anti-Italian sentiment increased.
741:La selva sin amor, drama con orquesta
158:(17th-century Italian opera based on
1254:, and the promising young composer,
988:(1940–1941, staged 1946), and
616:After the turn of the 20th century,
1584:Vor.ru essay on Russian comic opera
735:("The Gulf of the Sirens", 1657).
655:
24:
858:The first Russian comic opera was
747:("Jealousies Turn Into Stars") by
41:Poster for original production of
25:
1634:
1572:
1022:, Dmitri Shostakovich (Opus 105:
793:(the "big genre" or "big form").
1063:and Vyacheslav Gaivoronsky from
878:(1779), on a subject resembling
864:(1772). The text was written by
697:–1750), the earliest style, and
577:, the "waltz king", contributed
1198:The Grand Duchess of Gerolstein
1028:, operetta in 3 acts, (1958)),
112:, Russian comic opera, English
72:, emerged as an alternative to
1556:
1532:
1524:Introduction to Jessie Bond's
1516:
1488:
1476:
1103:English ballad and Savoy opera
185:The form began to flourish in
120:, North American operetta and
13:
1:
1057:A frightful opera performance
817:The first opera presented in
705:
691:
593:a long-time conductor at the
527:Die EntfĂĽhrung aus dem Serail
471:. Working on the same model,
1511:"The Origins of Comic Opera"
915:worked on two comic operas,
636:("A Waltz Dream", 1907) and
7:
1270:; its success launched the
1132:Richard Brinsley Sheridan's
1091:), an opera in two acts by
789:of three or more acts were
10:
1639:
1338:
1320:D'Oyly Carte Opera Company
1106:
979:The Love for Three Oranges
827:, by an Italian composer,
725:Pedro CalderĂłn de la Barca
662:
494:
373:
308:(1740). Many years later,
305:Pamela, or Virtue Rewarded
302:'s popular English novel,
172:was an early precursor of
134:
29:
1553:, accessed 4 January 2009
1204:Les Cloches de Corneville
1084:The Children of Rosenthal
768:Las segadoras de Vallecas
745:Los celos hacen estrellas
739:soon wrote a work titled
421:François-Adrien Boïeldieu
413:Pierre-Alexandre Monsigny
391:Orpheus in the Underworld
298:. That text was based on
45:Les cloches de Corneville
1469:
1431:George Frederick Cameron
1427:Oscar Ferdinand Telgmann
1280:Alexandre Charles Lecocq
1139:(1775), with a score by
985:Betrothal in a Monastery
829:Giovanni Alberto Ristori
1406:. The modern American
1309:The Pirates of Penzance
939:Nikolai Rimsky-Korsakov
918:The Fair at Sorochyntsi
733:El golfo de las sirenas
409:François-André Philidor
216:Il filosofo di campagna
1540:"Richard D'Oyly Carte"
1460:electronic instruments
1363:In the United States,
1360:
1192:
1173:
731:for his work entitled
569:and the French model.
565:was built on both the
394:
149:
49:
43:
1353:A "toy soldier" from
1352:
1178:
1168:
1095:, with a libretto by
931:wrote a comic opera,
639:The Chocolate Soldier
491:and Viennese operetta
425:Daniel François Auber
387:
327:The Barber of Seville
324:in his works such as
246:Il matrimonio segreto
196:Il trionfo dell'onore
144:
55:, sometimes known as
40:
1436:Leo, the Royal Cadet
1272:Gilbert and Sullivan
1240:Richard D'Oyly Carte
1025:Moscow, Cheryomushki
947:1878–1879 and
275:French Enlightenment
191:Alessandro Scarlatti
170:Alessandro Stradella
990:Dmitri Shostakovich
969:The Rake's Progress
950:The Golden Cockerel
888:, is attributed to
876:Alexander Ablesimov
813:Russian comic opera
781:were classified as
595:Theater an der Wien
288:wrote the music to
160:classical mythology
1546:2006-09-01 at the
1361:
1264:. The result was
1193:
1190:souvenir programme
1160:short comic operas
1156:Thomas German Reed
1127:The Beggar's Opera
1093:Leonid Desyatnikov
1061:Leonid Desyatnikov
890:Mikhail Sokolovsky
649:Die Csárdásfürstin
395:
165:Il Trespolo tutore
150:
50:
1623:Opera terminology
1462:are often styled
1441:Kingston, Ontario
1396:John Philip Sousa
1392:Reginald de Koven
1152:musical burlesque
1077:Mariinski Theatre
1042:Alexander Zhurbin
1030:Tikhon Khrennikov
1020:Dmitri Kabalevsky
953:1906–1907.
929:Pyotr Tchaikovsky
913:Modest Mussorgsky
909:Alexey Verstovsky
898:Vasily Pashkevich
801:, was opened for
772:RodrĂguez de Hita
611:Der arme Jonathan
600:Der Bettelstudent
575:Johann Strauss II
563:Viennese operetta
473:Jacques Offenbach
338:Gaetano Donizetti
322:Gioachino Rossini
300:Samuel Richardson
148:, circa 1810–1815
104:Viennese operetta
90:Jacques Offenbach
16:(Redirected from
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1073:Tsar Maksimilyan
1016:Isaak Dunayevsky
974:Sergey Prokofiev
902:Yevstigney Fomin
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206:La serva padrona
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1227:Arthur Sullivan
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894:Ivan Kerzelli
891:
887:
886:
881:
877:
873:
872:
867:
866:Mikhail Popov
863:
862:
856:
854:
850:
846:
842:
838:
834:
830:
826:
825:
820:
810:
808:
804:
800:
796:
792:
791:género grande
788:
784:
780:
775:
773:
769:
765:
761:
757:
752:
750:
746:
742:
738:
734:
730:
726:
722:
720:
719:
714:
713:género grande
703:
700:
689:
686:
682:
677:
673:
672:
666:
659:
653:
651:
650:
645:
641:
640:
635:
634:
629:
625:
624:
619:
614:
612:
608:
607:
602:
601:
596:
592:
588:
587:
582:
581:
576:
572:
568:
564:
561:19th century
559:
557:
556:
552:
548:
547:
543:
539:
535:
534:
529:
528:
524:
520:
516:
515:
514:opéra comique
510:
509:
502:
498:
490:
484:
482:
478:
474:
470:
469:
464:
463:
458:
454:
452:
451:
447:
443:
442:
438:
434:
433:opéra comique
430:
426:
422:
418:
414:
410:
406:
402:
401:
400:opéra comique
393:
392:
386:
381:
377:
376:Opéra comique
369:
368:opéra comique
363:
361:
360:
355:
351:
350:
345:
344:
339:
335:
334:
329:
328:
323:
318:
315:
311:
307:
306:
301:
297:
296:Carlo Goldoni
293:
292:
287:
282:
280:
276:
272:
267:
262:
260:
256:
252:
248:
247:
242:
238:
237:
232:
228:
227:
222:
218:
217:
212:
208:
207:
202:
198:
197:
192:
188:
183:
181:
177:
176:
171:
167:
166:
161:
157:
156:
147:
143:
138:
131:
125:
123:
119:
115:
111:
110:
105:
101:
100:
93:
91:
87:
83:
82:
81:opéra comique
77:
76:
71:
70:
65:
60:
58:
54:
47:
46:
39:
33:
19:
1618:Opera genres
1595:
1558:
1550:
1534:
1525:
1518:
1495:"The Duenna"
1490:
1478:
1455:Sweeney Todd
1453:
1447:
1445:
1434:
1424:
1417:
1411:
1404:Rudolf Friml
1389:
1382:
1376:
1369:
1362:
1354:
1326:
1324:
1313:
1307:
1301:
1294:Savoy operas
1289:The Sorcerer
1287:
1283:
1275:
1265:
1261:La PĂ©richole
1259:
1237:
1230:
1219:Robert Reece
1215:H. B. Farnie
1208:
1202:
1196:
1194:
1180:
1169:
1145:
1134:
1125:
1119:ballad opera
1116:
1109:Ballad opera
1088:
1082:
1081:
1072:
1056:
1052:
1048:
1046:
1023:
993:
983:
977:
967:
961:
955:
948:
942:
932:
922:
916:
906:
883:
869:
859:
857:
822:
816:
807:género chico
806:
802:
799:Teatro Apolo
794:
790:
786:
783:género chico
782:
778:
776:
767:
763:
755:
753:
749:Juan Hidalgo
744:
740:
737:Lope de Vega
732:
728:
723:
718:género chico
716:
712:
701:
687:
680:
669:
668:
657:
647:
642:(1908); and
637:
631:
628:Oscar Straus
621:
615:
610:
604:
598:
584:
578:
566:
560:
553:
544:
537:
531:
525:
518:
512:
506:
504:
488:
466:
462:opéra bouffe
460:
455:
448:
439:
432:
429:Adolphe Adam
417:André Grétry
398:
396:
389:
370:and operetta
367:
357:
349:Don Pasquale
347:
341:
331:
325:
319:
313:
303:
289:
283:
270:
263:
253:and, later,
244:
234:
224:
214:
204:
194:
184:
179:
173:
163:
153:
151:
129:
107:
97:
94:
79:
73:
67:
61:
56:
52:
51:
18:Comic operas
1594:History of
1483:Operette001
1464:rock operas
1425:In Canada,
1381:(1903) and
1232:Cox and Box
1179:Scene from
1164:Jessie Bond
1113:Savoy opera
1053:Царь Демьян
1049:Tsar Demyan
1000:light music
982:(1919) and
966:(1922) and
934:Cherevichki
843:, and also
777:Single act
760:Charles III
709: 1850
695: 1630
618:Franz Lehár
609:(1884) and
583:(1874) and
549:(1805) and
542:Beethoven's
530:(1782) and
437:Cherubini's
405:Egidio Duni
346:(1832) and
330:(1816) and
314:La Cecchina
291:La Cecchina
277:figures as
226:La Cecchina
180:opera buffa
175:opera buffa
155:opera seria
137:Opera buffa
130:opera buffa
118:Savoy opera
75:opera seria
69:opera buffa
57:light opera
53:Comic opera
1607:Categories
1339:See also:
1315:The Mikado
1136:The Duenna
1123:John Gay's
1107:See also:
1055:) –
1012:rock opera
874:, text by
663:See also:
540:, such as
538:singspiels
495:See also:
374:See also:
266:intermezzi
168:(1679) by
135:See also:
106:, Spanish
32:Comicopera
1413:Show Boat
1238:In 1875,
1148:pantomime
944:May Night
941:composed
851:composer
837:Paisiello
787:zarzuelas
779:zarzuelas
646:composed
630:supplied
606:Gasparone
589:(1885).
567:singspiel
519:singspiel
508:singspiel
497:Singspiel
489:singspiel
477:operettas
284:In 1760,
259:Donizetti
239:, 1789),
231:Paisiello
229:, 1760),
219:, 1754),
209:, 1733),
201:Pergolesi
99:singspiel
1596:Zarzuela
1544:Archived
1387:(1910).
1341:Operetta
1004:operetta
995:The Nose
972:(1951),
937:(1885).
924:Zhenitba
880:Rousseau
841:Cimarosa
824:Calandro
764:Zarzuela
756:zarzuela
729:zarzuela
702:zarzuela
699:Romantic
688:zarzuela
681:zarzuela
671:Zarzuela
665:Zarzuela
658:zarzuela
656:Spanish
652:(1915).
626:(1905);
613:(1890).
603:(1882),
523:Mozart's
501:Operetta
468:opérette
380:Operetta
359:Falstaff
279:Rousseau
241:Cimarosa
221:Piccinni
128:Italian
109:zarzuela
1449:Candide
1408:musical
1328:Dorothy
1185:, 1886
1166:wrote,
845:Belgian
833:Galuppi
685:Baroque
551:Weber's
546:Fidelio
487:German
446:Bizet's
366:French
312:called
255:Rossini
211:Galuppi
182:genre.
146:Rossini
88:, with
1613:Comedy
1359:, 1903
1069:Moscow
861:Anyuta
853:Grétry
849:French
819:Russia
620:wrote
517:, the
450:Carmen
251:Mozart
187:Naples
114:ballad
1470:Notes
1276:Trial
963:Mavra
885:Devin
676:Spain
465:, or
441:Médée
310:Verdi
189:with
64:opera
1452:and
1429:and
1416:and
1402:and
1343:and
1312:and
1246:and
1217:and
1150:and
1111:and
1040:and
921:and
900:and
839:and
715:and
505:The
499:and
444:and
427:and
378:and
257:and
236:Nina
116:and
1229:in
1221:.
992:'s
976:'s
960:'s
882:'s
356:'s
340:in
193:'s
162:).
1609::
1542:,
1502:^
1466:.
1443:.
1398:,
1394:,
1306:,
1207:,
1044:.
1036:,
1018:,
1006:,
1002:,
896:,
892:.
855:.
835:,
809:.
774:.
721:.
706:c.
692:c.
683::
483:.
423:,
419:,
415:,
411:,
407:,
281:.
261:.
124:.
102:,
1087:(
1051:(
847:/
704:(
690:(
243:(
233:(
223:(
213:(
203:(
34:.
20:)
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