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The opera libretto from its inception (c. 1600) was written in verse, and this continued well into the 19th century, although genres of musical theatre with spoken dialogue have typically alternated verse in the musical numbers with spoken prose. Since the late 19th century some opera composers have written music to prose or free verse libretti.
Although initially developed by technicians at The Santa Fe Opera, the Metropolitan Opera was the first to install the system which they describe as Met Titles. [1] In the U.S., the electronic libretto system was further developed and patented as "Simultext" by Figaro Systems of Santa Fe, New Mexico with The Santa Fe Opera becoming the second ...
The electronic libretto system uses individual screens placed in front of each seat allowing patrons either to view a translation or to switch them off during the performance. New York's Metropolitan Opera installed the patented Met Titles , becoming the first house in the United States to use this system.
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.
Lyrics in sheet music.This is a homorhythmic (i.e., hymn-style) arrangement of a traditional piece entitled "Adeste Fideles" (the original Latin lyrics to "O Come, All Ye Faithful") in standard two-staff format for mixed voices.
The mostly syllabic recitativo secco [A] ("dry", accompanied only by continuo, typically cello and harpsichord) is at one end of the spectrum, through recitativo accompagnato (using orchestra), the more melismatic arioso, and finally the full-blown aria or ensemble, where the pulse is entirely governed by the music. Secco recitatives can be ...
It is not uncommon for critics to describe the libretto of The Magic Flute as being of dreadful quality. Thus Bauman writes, "The libretto has been generally regarded, in Dent's words, as "one of the most absurd specimens of that form of literature [i.e. libretti] in which absurdity is regarded as matter of course."
When the operas of Christoph Willibald Gluck and Wolfgang Amadeus Mozart—focusing more on psychology and less on virtuoso singing—came into vogue, a new style of libretto was needed (Mozart did use an old Metastasio libretto for his renowned opera La clemenza di Tito, but, it was substantially re-written for the purpose). The demise of ...