17:
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91:. David Charlton believes that rescue opera is not an authentic genre, and that the concept was coined to make what he believes is a nonexistent connection between Beethoven's work and French opera. Patrick J. Smith, on the other hand, observes: "The 'rescue opera'...antedated the Revolution, but 'rescue opera' as a genre was a product of it."
339:. The social changes of the period meant that opera must now appeal to the masses, and post-aristocratic, patriotic, idealistic themes—such as resistance to oppression, secularism, the political power of individuals and of people working together, and fundamental changes to the status quo—were popular. The
36:
in the late 18th and early 19th centuries in France and
Germany. Generally, rescue operas deal with the rescue of a main character from danger and end with a happy dramatic resolution in which lofty humanistic ideals triumph over base motives. Operas with this kind of subject matter became popular in
388:
plots, though the resolution still bore a closer resemblance to the endings of domestic comedies. However, others reject this term because the rescue is carried out through the actions of heroic people, rather than gods. John Bokina describes such endings, rather than as a "deus ex machina," as a
508:". . .the idea of 'rescue opera' has provided a superficial means of relating Fidelio to French tradition. The attempt was founded on little knowledge, and the dangerous consequence of using the term is to distort historical values."
370:
caused confusion in a system where tragedy was associated with through-composed scores and comedy with dialogue, precipitating a shift of musical theatre genres that paralleled the political shift which empowered the middle-class.
242:(1791) has also been named a founding work of the genre. Other examples from the end of the eighteenth and beginning of the nineteenth century, the period when rescue opera flourished, are
456:
In its use of local color, heightened dramatic and emotional intensity, and inclusion of descriptive instrumental music, rescue opera preceded the works of German
Romantics such as
464:. Grandiosity in music and scenery, influenced by the political spectacles of the French Revolution and French Empire, influenced grand opera and the works of composers like
403:
Rescue operas incorporated "local color" in the orchestra for operas set in exotic
European locations. Folk songs and "picturesque" arias were used to indicate a setting;
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writes, "No longer did the bourgeoisie function in comic casts merely as the butt of jokes; it demanded, and received, its part in the dignity of tragedy."
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362:, rescue operas contained spoken dialogue, popular musical idioms, and bourgeois characters. Works with libretti by
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218:
269:
While the rescue opera was primarily a French genre, the two best-known operas in the genre are not French.
222:(1784). These are sometimes called early rescue operas, or conversely predecessors of the rescue opera.
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Dramatic and emotional intensity, as conveyed through music, became increasingly important. The
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influence, has nonetheless been called a rescue opera, in part because of its political themes.
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were often to be found in scores, and chromatic scales, tremolos, and intervals such as the
327:, premiered in 1836, used the French operatic form as inspiration for its formal structure.
55:; musically, it began a new tradition that would influence German Romantic opera and French
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49:. Stylistically and thematically, rescue opera was an outgrowth of the French bourgeois
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used the term in
English in 1927 as a translation of Karl M. Klob's 1913 reference to
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837:"Gothic Opera as Romantic Discourse in Britain and France: A Cross-Cultural Dialogue"
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influenced stories of fear and imprisonment; a number of plots, including that of
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448:. Long instrumental passages descriptive of storms or battles were also present.
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were particularly influential. The influx of suspenseful or tragic subjects into
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Warrack, John
Hamilton (2001). "French opera in Germany after the Revolution".
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is by far the most famous example today, and was also influenced by the German
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490:'Rescue opera' ... was coined only in the late 19th or early 20th century."
400:. A number of rescue operas were adaptations of British gothic literature.
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was one of the more influential rescue operas, wrote in his score for
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Defining Russia musically : historical and hermeneutical essays
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389:"populus ex machina," in which virtuous human beings save the day.
311:(1868), which contains no spoken dialogue and which bears marks of
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and other operas based on the same libretto as well as that of
38:
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407:, for example, set in Poland, contains what may be the first
33:
532:
The tenth muse: a historical study of the opera libretto
561:
Boyden, Matthew; Kimberley, Nick; Staines, Joe (2002).
834:
591:
Geschichte der Musik: ein
Studien- und Nachschlagebuch
560:
87:
as "das sogenannte
Rettungs- oder BefreiungsstĂĽck" in
628:"Fanning Revolutionary Fires: Cherubini's 'Lodoiska'"
232:(1790) has been described as the first rescue opera;
45:; a number of such operas dealt with the rescue of a
835:
Hoeveler, Diane Long; Davies
Cordova, Sarah (2006).
354:
Stylistically, rescue opera was an outgrowth of the
870:. University of California Press. pp. 64–65.
839:. In Peer, Larry H.; Hoeveler, Diane Long (eds.).
798:
411:in opera. However, melodies as such were avoided.
25:: Leonore prevents Pizarro from killing Florestan.
432:heightened tension onstage. Jean Le Sueur, whose
1505:
767:. Cambridge University Press. pp. 187–188.
594:. Vandenhoeck & Ruprecht. pp. 396–397.
378:Some scholars describe the plots as featuring a
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955:The Complete Dictionary of Opera and Operetta
698:Opera and Politics: From Monteverdi to Henze
556:
554:
552:
335:Rescue opera was primarily a product of the
94:In French, this genre is referred to as the
77:"Rescue opera" was not a contemporary term.
936:German opera: from the beginnings to Wagner
912:. Cambridge University Press. p. 105.
843:. Ashgate Publishing, Ltd. pp. 11–34.
756:
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960:Charlton, David (1992), "Rescue opera" in
727:Sadie, Stanley; Macy, Laura, eds. (2009).
675:: CS1 maint: location missing publisher (
510:Charlton, David (1992), 'Rescue opera' in
492:Charlton, David (1992), 'Rescue opera' in
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733:. Oxford University Press. p. 674.
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145:This section includes a list of general
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701:. Yale University Press. pp. 66–.
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895:. Oxford University Press. p. 69.
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805:. Columbia University Press. pp.
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392:These operas were also influenced by
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841:Romanticism: comparative discourses
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567:. Rough Guides. pp. 117–119.
151:it lacks sufficient corresponding
59:. The most famous rescue opera is
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626:Scott, Bruce (January 14, 2011).
1524:Culture of the French Revolution
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893:The Age of Beethoven, 1790-1830
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764:The Age of Mozart and Beethoven
440:that arias should be sung with
102:, while in German it is called
647:. Princeton, N.J. p. 27.
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1:
964:New Grove Dictionary of Opera
939:. Cambridge University Press.
514:New Grove Dictionary of Opera
496:New Grove Dictionary of Opera
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351:, were taken from real life.
285:. A work which is similar to
89:Die Oper von Gluck bis Wagner
7:
535:. A.A. Knopf. p. 182.
198:with rescue themes include
117:
10:
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909:The Rise of Romantic Opera
797:Grout, Donald Jay (2003).
761:Pestelli, Giorgio (1984).
641:Taruskin, Richard (2000).
529:Smith, Patrick J. (1970).
358:, a bourgeois genre. Like
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451:
384:like the ones present in
200:Pierre-Alexandre Monsigny
1105:Comédie mêlée d'ariettes
906:Dent, Edward J. (1979).
891:Abraham, Gerald (1988).
867:Nineteenth-Century Music
801:A short history of opera
730:The Grove Book of Operas
588:Wörner, Karl H. (1993).
564:The rough guide to opera
444:or in a manner that was
260:(1793), and Cherubini's
248:Camille ou Le souterrain
864:Dahlhaus, Carl (1991).
230:Les rigueurs du cloître
166:more precise citations.
110:(liberation opera), or
72:
41:around the time of the
1091:Comédie en vaudevilles
615:The Music Review, 1981
252:Jean-François Le Sueur
126:Category:Rescue operas
26:
1397:Science fiction opera
1384:Schauspiel mit Gesang
971:, London: Macmillan.
695:Bokina, John (2004).
219:Richard Coeur-de-lion
19:
458:Carl Maria von Weber
321:and his first opera
271:Ludwig van Beethoven
204:Le roi et le fermier
61:Ludwig van Beethoven
1457:Tragédie en musique
1151:Fairy-tale opera /
1072:BĂĽhnenweihfestspiel
364:Michel-Jean Sedaine
324:A Life for the Tsar
296:Torvaldo e Dorliska
226:Henri Montan Berton
1348:Pastorale héroïque
460:and, through him,
430:diminished seventh
47:political prisoner
27:
1514:Opera terminology
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1140:Dramma per musica
1119:Dramma eroicomico
953:Anderson, James,
740:978-0-19-530907-2
654:978-0-691-21937-0
466:Giacomo Meyerbeer
349:Les deux journées
337:French Revolution
263:Les deux journées
192:
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100:opéra à sauvetage
96:pièce à sauvetage
43:French Revolution
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1133:Dramma pastorale
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214:André Grétry
212:(1769), and
209:Le déserteur
207:
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104:Rettungsoper
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30:Rescue opera
29:
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1378:Savoy opera
1361:Radio opera
1322:Opera seria
1273:Opera buffa
1259:Opera ballo
1221:Liederspiel
1195:Grand opera
1153:Märchenoper
420:directions
386:opera seria
206:(1762) and
164:introducing
57:grand opera
1508:Categories
1478:Zauberoper
1402:Semi-opera
1245:Musikdrama
1234:Melodramma
1215:Intermezzo
1031:Afterpiece
708:0300101236
663:1199341829
472:References
434:La Caverne
417:fortissimo
299:of 1815.
257:La caverne
147:references
1450:Tonadilla
1443:Syngespil
1436:Spieloper
1429:Songspiel
1422:Singspiel
1391:Schuloper
1341:Pasticcio
1239:Monodrama
1209:Intermède
671:cite book
438:Télémaque
424:and even
409:polonaise
398:melodrama
313:Wagnerian
282:Singspiel
1485:Zeitoper
1471:Zarzuela
1415:Serenata
1408:Sepolcro
1334:Opérette
1328:Operetta
1202:Handlung
1146:Duodrama
1079:Burletta
405:LodoĂŻska
266:(1800).
250:(1791),
239:LodoĂŻska
118:Examples
1464:Verismo
948:Sources
345:Fidelio
308:Dalibor
291:Rossini
287:Fidelio
276:Fidelio
160:improve
84:Fidelio
66:Fidelio
22:Fidelio
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452:Impact
341:Terror
194:Early
149:, but
39:France
1252:Opéra
1167:Farsa
477:Notes
124:See:
34:opera
973:ISBN
962:The
914:ISBN
872:ISBN
845:ISBN
811:ISBN
769:ISBN
735:ISBN
703:ISBN
677:link
659:OCLC
649:ISBN
596:ISBN
569:ISBN
537:ISBN
512:The
494:The
396:and
73:Term
807:345
426:fff
305:'s
293:'s
289:is
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