How to Listen to and Understand Opera

In the first two lectures we develop a methodology for listening to and understanding opera. We are introduced to the concept of opera as a whole that is greater than the sum of its parts in its combination of soliloquy, dialogue, scenery, action, and continuous music. We see how music can evoke what words cannot express; the composer is the dramatist.

In the first two lectures we develop a methodology for listening to and understanding opera. We are introduced to the concept of opera as a whole that is greater than the sum of its parts in its combination of soliloquy, dialogue, scenery, action, and continuous music. We see how music can evoke what words cannot express; the composer is the dramatist.

Throughout the history of European music, style and form have changed constantly. Beginning in ancient Greece, we trace the history of vocal music through the Middle Ages and the Renaissance. We focus on the rise of popular secular music in a world hitherto dominated by the music of the Roman Catholic Church.

Throughout the history of European music, style and form have changed constantly. Beginning in ancient Greece, we trace the history of vocal music through the Middle Ages and the Renaissance. We focus on the rise of popular secular music in a world hitherto dominated by the music of the Roman Catholic Church.

In Lectures 5 through 8 we review the Greek idea of music as it related to music of the Renaissance. We see the evolution of intermezzo as a precursor to the first real opera. We look at the role of the Florentine Camerata in the development of opera, and we examine in depth the first real opera, Monteverdi's Orfeo of 1607.

In Lectures 5 through 8 we review the Greek idea of music as it related to music of the Renaissance. We see the evolution of intermezzo as a precursor to the first real opera. We look at the role of the Florentine Camerata in the development of opera, and we examine in depth the first real opera, Monteverdi's Orfeo of 1607.

In Lectures 5 through 8 we review the Greek idea of music as it related to music of the Renaissance. We see the evolution of intermezzo as a precursor to the first real opera. We look at the role of the Florentine Camerata in the development of opera, and we examine in depth the first real opera, Monteverdi's Orfeo of 1607.

In Lectures 5 through 8 we review the Greek idea of music as it related to music of the Renaissance. We see the evolution of intermezzo as a precursor to the first real opera. We look at the role of the Florentine Camerata in the development of opera, and we examine in depth the first real opera, Monteverdi's Orfeo of 1607.

Lectures 9 through 12 review the main features of early opera and trace its growth from the early 17th century up to Mozart's Idomeneo of 1781. As opera became a public entertainment, its literary and dramatic substance deteriorated. We learn how the formulaic rigidity of opera seria led to vocal abuses, and how a new wave of reform created a model for the next generation of opera composers.

Lectures 9 through 12 review the main features of early opera and trace its growth from the early 17th century up to Mozart's Idomeneo of 1781. As opera became a public entertainment, its literary and dramatic substance deteriorated. We learn how the formulaic rigidity of opera seria led to vocal abuses, and how a new wave of reform created a model for the next generation of opera composers.

Lectures 9 through 12 review the main features of early opera and trace its growth from the early 17th century up to Mozart's Idomeneo of 1781. As opera became a public entertainment, its literary and dramatic substance deteriorated. We learn how the formulaic rigidity of opera seria led to vocal abuses, and how a new wave of reform created a model for the next generation of opera composers.

Lectures 9 through 12 review the main features of early opera and trace its growth from the early 17th century up to Mozart's Idomeneo of 1781. As opera became a public entertainment, its literary and dramatic substance deteriorated. We learn how the formulaic rigidity of opera seria led to vocal abuses, and how a new wave of reform created a model for the next generation of opera composers.

We see how comic opera, with its roots in popular folklore, developed separately from the opera seria of the aristocracy. We learn how the more accessible, populist opera buffa was championed by Enlightenment progressives. Opera buffa character types and conventions are discussed, and one of the greatest examples of opera buffa, Mozart's The Marriage of Figaro (1786), is examined.

We see how comic opera, with its roots in popular folklore, developed separately from the opera seria of the aristocracy. We learn how the more accessible, populist opera buffa was championed by Enlightenment progressives. Opera buffa character types and conventions are discussed, and one of the greatest examples of opera buffa, Mozart's The Marriage of Figaro (1786), is examined.

We see how comic opera, with its roots in popular folklore, developed separately from the opera seria of the aristocracy. We learn how the more accessible, populist opera buffa was championed by Enlightenment progressives. Opera buffa character types and conventions are discussed, and one of the greatest examples of opera buffa, Mozart's The Marriage of Figaro (1786), is examined.

We see how comic opera, with its roots in popular folklore, developed separately from the opera seria of the aristocracy. We learn how the more accessible, populist opera buffa was championed by Enlightenment progressives. Opera buffa character types and conventions are discussed, and one of the greatest examples of opera buffa, Mozart's The Marriage of Figaro (1786), is examined.

Bel canto operas are based on comic, predictable plots and one-dimensional characters to indulge the contemporary Italian taste for pure entertainment. Our frame of reference is the landmark bel canto opera, The Barber of Seville, by the most important Italian composer of bel canto operas, Gioacchino Rossini.

Bel canto operas are based on comic, predictable plots and one-dimensional characters to indulge the contemporary Italian taste for pure entertainment. Our frame of reference is the landmark bel canto opera, The Barber of Seville, by the most important Italian composer of bel canto operas, Gioacchino Rossini.

The Italian composer Giuseppe Verdi and opera seria are the focus of Lectures 19 through 22. We learn how Verdi dominated the operatic scene in Italy for more than half a century by the power of his beautiful melodies and his focus on human emotions and psychological insight. Verdi's style is discussed with references to Rigoletto, La Traviata, and Otello.

The Italian composer Giuseppe Verdi and opera seria are the focus of Lectures 19 through 22. We learn how Verdi dominated the operatic scene in Italy for more than half a century by the power of his beautiful melodies and his focus on human emotions and psychological insight. Verdi's style is discussed with references to Rigoletto, La Traviata, and Otello.

The Italian composer Giuseppe Verdi and opera seria are the focus of Lectures 19 through 22. We learn how Verdi dominated the operatic scene in Italy for more than half a century by the power of his beautiful melodies and his focus on human emotions and psychological insight. Verdi's style is discussed with references to Rigoletto, La Traviata, and Otello.

The Italian composer Giuseppe Verdi and opera seria are the focus of Lectures 19 through 22. We learn how Verdi dominated the operatic scene in Italy for more than half a century by the power of his beautiful melodies and his focus on human emotions and psychological insight. Verdi's style is discussed with references to Rigoletto, La Traviata, and Otello.

In Lectures 23 and 24 we give an overview of the evolution of a distinctly French style; explain why and how French opera is different from Italian opera; and emphasize that operatic content, both musical and dramatic, is most often a function of the language, politics, and economic class of its consumers. French opera composers discussed include Jean-Baptiste Lully and Georges Bizet.

In Lectures 23 and 24 we give an overview of the evolution of a distinctly French style; explain why and how French opera is different from Italian opera; and emphasize that operatic content, both musical and dramatic, is most often a function of the language, politics, and economic class of its consumers. French opera composers discussed include Jean-Baptiste Lully and Georges Bizet.

In this lecture we learn how German opera owed its evolution to German folklore and the requirements of the German language. We see how it came into being with Mozart's The Magic Flute of 1791, and how it was indebted to the traditional German entertainment of singspiel. Weber's Der Freishütz is examined as the work that established 19th-century German opera.