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The libretto of a musical, if the musical is adapted from a play (or even a novel), may even borrow their source's original dialogue liberally – much as Oklahoma! used dialogue from Lynn Riggs's Green Grow the Lilacs, Carousel used dialogue from Ferenc Molnár's Liliom, My Fair Lady took most of its dialogue word-for-word from George Bernard ...
Andromeda is a favola in musica commissioned by Don Vincenzo Gonzaga for the Mantua Carnival of March 1618, set to a libretto by Marigliani. Due to Monteverdi's disinterest it took two years to complete and premiered during the 1620 Carnival season, 1–3 March. [29] [30] The music is lost, but the libretto, long believed lost, was rediscovered ...
A very long tradition asserts that Freemasonry plays a major role in the content of Schikaneder's libretto. [8] Mozart was an active Mason in Vienna, and wrote a substantial quantity of music for his own lodge, including in 1791 (see Mozart and Freemasonry).
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. [1] Opera is part of the Western classical music tradition.
Dorothy is a comic opera in three acts with music by Alfred Cellier and a libretto by B. C. Stephenson. The story involves a rake who falls in love with his disguised fiancée. The story involves a rake who falls in love with his disguised fiancée.
The libretto was prepared in accordance with the conventions of opéra comique, with dialogue separating musical numbers. [n 3] It deviates from Mérimée's novella in a number of significant respects. In the original, events are spread over a much longer period of time, and much of the main story is narrated by José from his prison cell, as ...
Platée is an opera in a prologue and three acts by Jean-Philippe Rameau with a libretto by Adrien-Joseph Le Valois d'Orville. Rameau bought the rights to the libretto Platée ou Junon jalouse (Plataea, or Juno Jealous) by Jacques Autreau (1657–1745) and had d'Orville modify it. [1]
The tradition of literaturoper only became established in European opera culture when, with Richard Wagner and the "through-composed dramatic form" he developed, the conventions of verse metrics for the opera libretto had faded. At the same time, the personal union of libretto poet and composer appeared as the new norm of opera production.