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Opera is an art form in which singers and musicians perform a dramatic work (called an opera) which combines a text (called a libretto) and a musical score. Opera is part of the Western classical music tradition. Opera incorporates many of the elements of spoken theatre, such as acting, scenery and costumes and sometimes includes dance. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble.

Opera started in Italy at the end of the 16th century (with Jacopo Peri's lost Dafne, produced in Florence around 1597), and was championed by Claudio Monteverdi with works such as L'Orfeo. It soon spread through the rest of Europe: Schütz in Germany, Lully in France, and Purcell in England all helped to establish their national traditions in the 17th century. However, in the 18th century, Italian opera continued to dominate most of Europe, except France, attracting foreign composers such as Handel. Opera seria was the most prestigious form of Italian opera, until Gluck reacted against its artificiality with his "reform" operas in the 1760s. Today the most renowned figure of late 18th century opera is Mozart, who began with opera seria but is most famous for his Italian comic operas, especially The Marriage of Figaro, Don Giovanni, and Così fan tutte, as well as The Magic Flute, a landmark in the German tradition.

The first third of the 19th century saw the highpoint of the bel canto style, with Rossini, Donizetti and Bellini all creating works that are still performed today. It also saw the advent of Grand Opera typified by the works of Meyerbeer. The mid to late 19th century is considered by some a golden age of opera, led by Wagner in Germany and Verdi in Italy. This 'golden age' developed through the verismo era in Italy and contemporary French opera through to Puccini and Strauss in the early 20th century. During the 19th century, parallel operatic traditions emerged in Central and Eastern Europe, particularly in Russia and Bohemia. The 20th century saw many experiments with modern styles, such as atonality and serialism ( Schoenberg and Berg), Neo-Classicism ( Stravinsky), and Minimalism ( Philip Glass and John Adams). With the rise of recording technology, singers such as Enrico Caruso became known to audiences beyond the circle of opera fans. Operas were also performed on (and written for) radio and television.

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Selected article

Célestine Marié who created the role of Carmen
Carmen is an opera in four acts by the French composer Georges Bizet. The libretto was written by Henri Meilhac and Ludovic Halévy, based on a novella of the same title by Prosper Mérimée. The opera was first performed at the Opéra-Comique in Paris, on 3 March 1875, and was not at first particularly successful; its initial run extended to 36 performances. Before this run was concluded, Bizet died suddenly, and thus knew nothing of the opera's later celebrity. Written in the genre of opéra comique, it tells the story of the downfall of Don José, a naive soldier who is seduced by the wiles of the fiery gypsy Carmen. José abandons his childhood sweetheart and deserts from his military duties, yet loses Carmen's love to the glamorous toreador Escamillo after which José kills her in a jealous rage. The depictions of proletarian life, immorality and lawlessness, and the tragic outcome in which the main character dies on stage, broke new ground in French opera and were highly controversial. After the premiere most reviews were critical, and the French public was generally indifferent. Carmen initially gained its reputation through a series of productions outside France, and was not revived in Paris until 1883; thereafter it rapidly acquired celebrity at home and abroad, and continues to be one of the most frequently performed operas; the " toreador's song" from Act 2 is among the best known of all operatic arias. Later commentators have asserted that Carmen forms the bridge between the tradition of opéra comique and the realism or verismo that characterised late 19th-century Italian opera.

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Les contes d'Hoffmann
Les contes d'Hoffmann
Credit: Pierre-Auguste Lamy (?), restored by Adam Cuerden
Illustration to Jacques Offenbach's last composition Les contes d'Hoffmann, showing the prologue. Based on the stories of E. T. A. Hoffmann, it features three doomed romances, with his friend Nicklausse – actually Hoffmann's muse in disguise – following him around, attempting to protect him, even as tragedies befall all around him. However, in the end he explains the three women he described are actually elements of his fourth love, whom he then rejects, and the muse reveals herself and embraces him.

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Jean de Reszke

Selected biography

Éva Gauthier
Éva Gauthier (September 20, 1885 – December 20, 1958) was a Canadian mezzo-soprano and voice teacher. She performed and popularised songs by contemporary composers throughout her career and sang in the American premieres of several works by Satie, Ravel and Stravinsky, including the title role in his Perséphone. The niece of Lady (Zoé) Laurier and Sir Wilfrid Laurier, who were also her patrons, she initially trained and performed in Europe. She then travelled to Java and for four years immersed herself in its native music, which she introduced to North American audiences on her return. She retired from performing in 1937, and opened a voice studio in New York, where she became a founding member of the American Guild of Musical Artists and served on its board of governors. Gauthier was praised for the many qualities her singing brought to music. The citation from the Campion Society of San Francisco, which she received in 1949, said: "...her rare open-mindedness and unorthodox enthusiasm having been initially responsible for the recognition of many vital and important modern composers"

Selected quote

I love my coloratura music, and I think my audience likes it too; it goes to the heart—it is all melody, and that is what people like.

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From Giuseppe Verdi's Il trovatore, sung by Gabriella Besanzoni (1920)

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Antonio Maria Bononcini

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