BAROQUE AND CLASSICAL OPERAS in 70's

1. BAROQUE AND CLASSICAL
OPERAS
(1600-1750 AND 1750-1820)

2. .
INTRODUCTION
The Baroque is a highly ornate and elaborate style of architecture, art
and design that flourished in Europe in the 17th and first half of the 18th
century. Originating in Italy, its influence quickly spread across Europe
and it became the first visual style to have a significant worldwide
impact.
Meanwhile, the Classical period was known as the Age of Enlightenment,
or the Age of Reason. The era spanned about seventy years (1750-1820),
but in its short duration, musical practices began that have influenced
music ever since. Classical period music is by far the most common
Western music known today.

3. .
OPERA
• An opera, like a play, is a dramatic form of theatre that includes scenery, props
and costumes. In opera, however, the actors are trained singers who sing their
lines instead of speaking them. An orchestra accompanies the singers. A
conductor coordinates the singers on stage and the musicians in the orchestra
pit.
• It was made known in the Baroque period in the 16th
century. Recorded in
history as Baroque eras great contributions.
• Born in Italy more than 400 years ago during the Renaissance, opera—a
combination of vocal and orchestral music, drama, visual arts and dance—has
been inspiring people for ages.

4. .
BAROQUE OPERA (1600-1750)
Baroque opera was characterized by its use of recitative, a style of
singing that imitates speech and is used to advance the plot. The arias,
on the other hand, were more melodious and expressive, and allowed
for the singers to display their vocal virtuosity. The orchestra played an
important role in Baroque opera, providing accompaniment for the
singers and adding to the dramatic effect.

5. .
CLASSICAL OPERA (1750-1820)
Classical opera as a term can refer to operas that were composed
during the Classical Era (1750-1820), or can more broadly encompass
operas composed in a classical style. Opera is a popular style in classical
music, and reference to the term opera usually indicates classical
music. Operas composed during the classical era include "Don
Giovanni" by Wolfgang Amadeus Mozart.

6. .
2 MAIN TYPES OF OPERA
BUFFA
• A comic opera, evolved from comedic
interludes between serious opera acts and
became a dominant operatic style in the late
18th and early 19th centuries. Unlike opera
seria, it focused on common people and
domestic life, often featuring comedic plots
where servants outwit aristocrats, frequently
challenging social structures. Like opera seria, it
was fully sung with recitative and arias, but it
allowed for more musical innovation. Opera
buffa made greater use of lower voice types,
such as basses and baritones, and emphasized
ensemble singing, introducing the ensemble
finale, which became a staple of later opera
styles.
SERIA
• A serious opera style, emerged in Naples
in the late 17th and early 18th centuries.
Italian librettist Pietro Metastasio helped
define the genre, structuring librettos into
three-act narratives with moral lessons
aligned with Enlightenment ideals.
Common themes included noble rulers,
heroic acts, and duty. Musically, opera
seria focused on solo performances
rather than ensembles or choruses. It
emphasized bel canto singing, showcasing
vocal skill through da capo arias, which
followed an ABA structure with elaborate
embellishments in the repeated section.

7. .
CHARACTERISTICS

8. .
CHARACTERISTICS OF BAROQUE
1. Recitative and aria structure
• Recitative serves as a narrative tool,
advancing the plot through speech-
like singing.
• Arias are more lyrical and expressive,
allowing characters to convey
emotions and reflect on their
experiences.
• The interplay between recitative and
aria creates a dynamic flow, balancing
dialogue and emotional expression.
2. Use of basso continuo
• Basso continuo provides a harmonic
foundation, typically played by
keyboard instruments and a bass
instrument.
• It allows for improvisation, giving
performers the freedom to embellish
and interpret the music.
• This practice emphasizes the
importance of the bass line in
establishing the harmonic structure
of the piece.

9. .
3. Emphasis on vocal virtuosity and
ornamentation
• Singers showcase their technical
skills through elaborate vocal runs
and embellishments.
• Ornamentation adds expressiveness
and personal interpretation to the
music, enhancing emotional impact.
• The focus on virtuosity reflects the
Baroque era's admiration for
individual talent and artistry.
4. Mythological or historical themes
• Operas often draw from classical
mythology or historical events,
providing rich narratives for
exploration.
• These themes allow for dramatic
storytelling, engaging audiences
with familiar tales of gods, heroes,
and legendary figures.
• The use of such themes reflects the
Baroque interest in grandeur and
the human experience.

10. .
5. Elaborate stage machinery and set
designs
• Theatrical productions feature
intricate sets and machinery to
create stunning visual effects.
• Innovations in stagecraft enhance
the storytelling, immersing
audiences in the operatic
experience.
• The visual spectacle complements
the music, reinforcing the emotional
and dramatic elements of the opera.
6. Castrati singers in leading roles
• Castrati, male singers who
underwent castration before
puberty, possessed unique vocal
qualities and ranges.
• Their roles often included heroic or
romantic characters, showcasing
their exceptional vocal abilities.
• The use of castrati reflects societal
norms and the value placed on
extraordinary vocal talent during the
Baroque period.

11. .
7. Da capo aria form
• The da capo aria follows an ABA
structure, with the first section
repeated after a contrasting middle
section.
• This form allows for emotional
development and showcases the
singer's virtuosity in the repeated
section.
• The return to the initial theme
reinforces the emotional core of the
aria, creating a satisfying musical
experience.
8. Incorporation of dance elements
• Dance forms, such as the allemande
and courante, are integrated into
operas, enhancing the overall aesthetic.
• These elements contribute to the
rhythm and movement of the
performance, engaging the audience
visually and aurally.
• The inclusion of dance reflects the
Baroque era's celebration of art as a
multifaceted experience.

12. .
9. Use of orchestral ritornello
• The ritornello serves as a recurring
instrumental theme, framing the vocal
sections of the opera.
• It provides cohesion and structure,
linking different parts of the music
together.
• The orchestral ritornello enhances the
dramatic effect, creating anticipation and
resolution throughout the performance.
•
10. Dramatic contrast and affective
expression
• Baroque opera emphasizes contrasts in
dynamics, tempo, and mood to heighten
emotional impact.
• Affective expression is central to the
music, with composers using techniques
to evoke specific feelings in the
audience.
• This focus on drama and emotion
reflects the Baroque belief in the power
of music to convey the complexities of
human experience.

13. .
Structural and Stylistic Elements
• Overture foreshadowed musical
themes or dramatic elements
-Served as cohesive introduction to
the work
• Arias typically followed da capo (ABA)
form
-Less elaborate ornamentation in
repeated A section compared to
Baroque operas
• Accompanied recitative (recitativo
accompagnato) allowed more
dramatic expression in dialogue
scenes
-Blurred line between recitative
and aria
• Ensemble pieces integrated into
dramatic action
-Duets, trios, and larger groups no
longer mere interludes
• Dramatic structure followed clear arc
-Conflicts introduced in Act I
-Developed in Act II
-Resolved in Act III
CHARACTERISTICS OF CLASSICAL

14. .
Emphasis on Clarity and Balance
• Moved away from ornate Baroque style
toward simplicity in music and drama
• Reforms by composers like Christoph
Willibald Gluck created more natural and
dramatically coherent operatic form
• Recitative became more fluid and expressive
- Often accompanied by orchestra
(recitativo accompagnato) rather than just
continuo
• Arias transformed to express character
emotions
- Became shorter and less ornate
- Focused less on showcasing vocal
virtuosity
• Ensembles and choruses gained importance
in dramatic progression
• Orchestra's role expanded
- More varied instrumentation
- Greater emphasis on dramatic
underscoring
• Librettos focused on realistic plots and
characters
- Shifted from mythological subjects to
relatable human dramas

15. .
Themes and Genres
• Explored Enlightenment ideals
mirroring intellectual climate
• Reason
• Individualism
• Social reform
• Distinct genres emerged catering
to different social classes
• Opera seria (serious opera)
• Opera buffa (comic opera)
• Composers incorporated more
realistic characters and situations
• Moved away from mythological and
historical subjects of Baroque era
• Increased relatability for audiences
• Use of vernacular languages
increased, particularly in comic operas
• Enhanced appeal and relevance to
local audiences
• Facilitated broader understanding and
appreciation
• Patronage and Opera Production

16. .
Classical Era's Impact on Opera
Character and Narrative Development
• Shift towards
naturalistic and
psychologically
complex characters
• Moved away from
stylized Baroque
representations
• Enhanced audience
connection and
emotional impact
• Opera reforms initiated
by composers like
Gluck
• Emphasized dramatic
coherence
• Simplified musical
structures to enhance
storytelling
• Development of
ensemble pieces and
finales in opera buffa
• Influenced overall
structure of operas
• Led to more integrated
and dramatically
cohesive works
Musical and Structural Innovations
• Recitative use became more
fluid and expressive
• Blurred distinction between
recitative and aria in some works
• Enhanced dramatic flow and
character development
• National styles emerged more
distinctly
• Italian opera (bel canto style)
• French opera (grand opéra)
• German opera (emerging
national identity)
• Orchestra's role expanded
significantly
• Became integral to dramatic
expression
• Moved beyond mere
accompaniment to active
storytelling
• Mozart's operas set new
standards
• Collaborations with librettist Da
Ponte (The Marriage of Figaro,
Don Giovanni)
• Achieved seamless integration of
music and drama
• Influenced future generations of
composers (Beethoven, Weber)

17. .
COMPOSERS

18. .
BAROQUE

19. .
Early Baroque (1600–1650):
The Birth of Opera
Composer Title/Nickname Contribution to
Opera
Notable Operas
Claudio Monteverdi "The Father of Opera"
Established opera as a
dramatic art form.
L'Orfeo,
L’incoronazione di
Poppea
Francesco Cavalli "The Successor to Monteverdi"
Made opera accessible to
the public. Giasone, La Calisto
Jean-Baptiste Lully "The Architect of French Opera"
Developed tragédie lyrique,
incorporating ballet.
Atys, Armide

20. .
Composer Title/Nickname Contribution to
Opera
Notable Operas
Antonio Vivaldi "The Red Priest"
Composed operas with
vibrant orchestration and
virtuosity.
Orlando Furioso, La
Griselda
Georg Philipp
Telemann
"Germany’s Most Prolific
Composer"
Expanded comic opera.
Pimpinone, Der
geduldige Sokrates
Jean-Philippe Rameau "The Revolutionary Theorist"
Revolutionized harmony in
French opera.
Hippolyte et Aricie,
Les Indes galantes
George Frideric Handel "The Master of Opera Seria"
Created enduring works
with dramatic depth.
Giulio Cesare,
Rinaldo, Alcina
Late Baroque (1700–1750):
The Golden Age of Opera

21. .
Mid-Baroque (1650–1700):
The Rise of Opera Seria
Composer Title/Nickname Contribution to
Opera Notable Operas
Henry Purcell "The Orpheus of
England"
Integrated diverse
musical styles into
English opera.
Dido and Aeneas
Alessandro Scarlatti
"The Founder of
Neapolitan Opera"
Refined opera seria and
introduced da capo arias.
Griselda, Il Mitridate
Eupatore

22. .
CLASSICAL

23. .
Composer Lifespan Nationality Notable Operas Life & Contributions
Wolfgang
Amadeus
Mozart
1756–
1791
Austrian
The Marriage of Figaro
(1786), Don Giovanni
(1787), Così fan tutte
(1790), The Magic Flute
(1791), Idomeneo
(1781), La clemenza di
Tito (1791)
A musical prodigy, Mozart revolutionized
opera by combining expressive melodies,
deep character development, and dramatic
storytelling. His operas blended comic and
serious elements, innovating the opera buffa
and opera seria styles.
Christoph
Willibald
Gluck
1714–
1787
German
Orfeo ed Euridice
(1762), Alceste (1767),
Iphigénie en Tauride
(1779)
A reformer of opera, Gluck aimed to make
opera more natural and emotionally direct.
He rejected excessive vocal embellishment in
favor of clear storytelling and dramatic
integrity. His Orfeo ed Euridice was a
landmark in opera reform.

24. .
Composer Lifespan Nationality Notable Operas Life & Contributions
Antonio
Salieri
1750–
1825 Italian
Tarare (1787), Axur, re
d’Ormus (1788), Les
Danaïdes (1784)
A highly successful composer in his time, Salieri
composed operas in both Italian and French
styles. Though often linked with Mozart due to
fictionalized rivalries, he was an influential
teacher (Beethoven and Schubert were among
his students).
Giovanni
Paisiello
1740–
1816
Italian
Il barbiere di Siviglia
(1782), Nina, o sia La
pazza per amore
(1789)
A master of opera buffa (comic opera), Paisiello
was admired for his light, charming melodies and
dramatic clarity. His Il barbiere di Siviglia
influenced Rossini’s later opera of the same
name
Domenico
Cimarosa
1749–
1801
Italian
Il matrimonio segreto
(1792), L’italiana in
Londra (1778)
One of the last great composers of opera buffa,
Cimarosa’s works are filled with humor, fast-
paced dialogue, and lively music. Il matrimonio
segreto remains one of the most famous operas
of the Classical period.

25. .
IMPACT ON MODERN OPERA

26. .
Baroque and Classical opera shaped modern opera by establishing key
musical structures, expressive vocal techniques, and dramatic
storytelling. Baroque opera introduced the aria-recitative form and
virtuosic singing, while Classical opera refined character development
and emotional realism. The evolution of orchestration and staging from
these periods influenced modern productions, including contemporary
opera and musical theater. Their legacy lives on in today’s operatic
styles, film scores, and theatrical performances.

27. .
THE END

28. .
SOURCES
• https://serenademagazine.com/the-evolution-of-opera-from-baroque-to-modern-times/
• https://library.fiveable.me/opera/unit-5/role-opera-classical-period/study-guide/WDpMrOvnFjhf
dyDH
• https://www.kennedy-center.org/education/resources-for-educators/classroom-resources/media-
and-interactives/media/opera/understanding-opera/operas-baroque-era/
• https://human.libretexts.org/Courses/Prince_George's_Community_College/Music_Appreciation
%3A_A_Topical_Approach_to_Music_Genre_and_Style/12%3A_Music_and_Staged_Drama-_Ope
ra/12.02%3A_Opera_in_the_Baroque_Period
• https://study.com/academy/lesson/baroque-opera-composers-monteverdi-lully.html
• https://www.earlymusicworld.com/brief-introduction-to-baroqe-opera