🎹Music History – 1750 to 1850 Unit 6 – Opera Buffa vs. Opera Seria: Key Differences

Historical Context

• Opera buffa emerged in the early 18th century as a reaction against the formal and serious nature of opera seria
• Originated in Naples, Italy and quickly spread throughout Europe
• Reflected the changing social and cultural values of the Enlightenment era
  • Emphasized reason, individualism, and a more egalitarian society
  • Challenged the rigid social hierarchy and conventions of the aristocracy
• Coincided with the rise of the middle class and their demand for more relatable and entertaining art forms
• Influenced by the commedia dell'arte tradition of improvisational theater and stock characters
• Developed alongside other popular genres such as the ballad opera in England and the opéra comique in France

Defining Opera Buffa and Opera Seria

• Opera buffa, also known as comic opera, is a genre of opera that features humorous plots, everyday characters, and simple, tuneful music
  • Typically sung in the vernacular language rather than the formal Italian of opera seria
  • Often includes spoken dialogue between musical numbers
• Opera seria, or serious opera, is a genre of opera that features noble characters, mythological or historical plots, and elaborate, virtuosic music
  • Adheres to the principles of the Doctrine of Affections, which held that music should evoke specific emotions
  • Follows a rigid formula of alternating recitatives and arias
• The two genres represent opposing artistic and social values
  • Opera buffa celebrates the common man and the power of laughter
  • Opera seria upholds the ideals of the aristocracy and the power of reason

Musical Characteristics

• Opera buffa features simple, catchy melodies that are easy to remember and sing along to
  • Often includes popular dance rhythms such as the minuet or the contredanse
  • Emphasizes ensemble numbers such as duets, trios, and quartets
• Opera seria features complex, highly ornamented vocal lines that showcase the virtuosity of the singers
  • Arias are typically da capo form, with a repeated A section that allows for improvised embellishments
  • Recitatives are accompanied by a simple basso continuo of harpsichord and cello
• Both genres make use of the orchestra to set the mood and underscore the action
  • Opera buffa often features lively, fast-paced overtures and interludes
  • Opera seria often features somber, stately overtures and interludes
• Opera buffa sometimes parodies the musical conventions of opera seria for comedic effect

Plot and Themes

• Opera buffa plots typically revolve around the romantic entanglements and misadventures of everyday characters
  • Often feature disguises, mistaken identities, and other farcical elements
  • Frequently satirize the social and political institutions of the day
• Opera seria plots typically revolve around the moral dilemmas and heroic deeds of noble characters
  • Often based on mythological or historical subjects
  • Frequently explore themes of honor, duty, and the conflict between love and reason
• Both genres often include a lieto fine or happy ending where the conflicts are resolved and the characters are reconciled
  • In opera buffa, this often involves the triumph of love and the exposure of hypocrisy
  • In opera seria, this often involves the restoration of order and the affirmation of virtue

Character Types

• Opera buffa features stock characters derived from the commedia dell'arte tradition
  • The clever servant or valet who outsmarts his master (e.g. Figaro in The Barber of Seville)
  • The young lovers who must overcome obstacles to be together (e.g. Rosina and Almaviva in The Barber of Seville)
  • The old miser or curmudgeon who stands in the way of the lovers' happiness (e.g. Dr. Bartolo in The Barber of Seville)
• Opera seria features noble, idealized characters who embody specific virtues or vices
  • The heroic male lead or primo uomo who must choose between love and duty (e.g. Tito in La clemenza di Tito)
  • The long-suffering female lead or prima donna who must remain faithful despite adversity (e.g. Constanze in The Abduction from the Seraglio)
  • The villainous tyrant or rival who threatens the happiness of the leads (e.g. Osmin in The Abduction from the Seraglio)
• Both genres often include secondary characters who provide comic relief or advance the plot
  • In opera buffa, these may include bumbling policemen, nosy neighbors, or flirtatious maids
  • In opera seria, these may include confidants, messengers, or supernatural beings

Performance Practices

• Opera buffa was typically performed in smaller, more intimate venues than opera seria
  • Often staged in public theaters or private salons
  • Featured simpler sets and costumes than the elaborate productions of opera seria
• Opera seria was typically performed in grand, lavish productions at court theaters or public opera houses
  • Featured elaborate sets, costumes, and stage machinery
  • Often included ballet interludes or divertissements between acts
• Both genres featured virtuosic singing and acting from the leading performers
  • In opera buffa, the emphasis was on clear diction, expressive delivery, and comic timing
  • In opera seria, the emphasis was on technical brilliance, emotional intensity, and noble bearing
• Both genres often featured castrati, or male singers who were castrated before puberty to preserve their high voices
  • In opera seria, castrati often played heroic male roles
  • In opera buffa, castrati often played comical or feminine roles

Notable Composers and Works

• Notable composers of opera buffa include:
  • Giovanni Battista Pergolesi (La serva padrona, 1733)
  • Domenico Cimarosa (Il matrimonio segreto, 1792)
  • Wolfgang Amadeus Mozart (The Marriage of Figaro, 1786; Così fan tutte, 1790)
  • Gioachino Rossini (The Barber of Seville, 1816; La Cenerentola, 1817)
• Notable composers of opera seria include:
  • Alessandro Scarlatti (Il Mitridate Eupatore, 1707)
  • George Frideric Handel (Giulio Cesare, 1724; Alcina, 1735)
  • Christoph Willibald Gluck (Orfeo ed Euridice, 1762; Iphigénie en Tauride, 1779)
  • Wolfgang Amadeus Mozart (Idomeneo, 1781; La clemenza di Tito, 1791)

Legacy and Influence

• Opera buffa helped to democratize the art form and make it more accessible to a wider audience
  • Influenced the development of other popular musical genres such as the operetta and the musical comedy
  • Paved the way for the realistic, character-driven operas of the 19th century (e.g. the works of Giuseppe Verdi and Giacomo Puccini)
• Opera seria helped to codify the conventions and aesthetics of classical opera
  • Influenced the development of other serious musical genres such as the oratorio and the cantata
  • Paved the way for the grand, heroic operas of the 19th century (e.g. the works of Richard Wagner and Hector Berlioz)
• Both genres had a lasting impact on the musical and cultural life of Europe and beyond
  • Helped to establish opera as a major art form and a symbol of national identity
  • Inspired countless imitations, parodies, and adaptations in other media (e.g. literature, film, television)
  • Continue to be performed and celebrated by opera companies and audiences around the world