Prasad. "Opera One announced with new UI and tab management features". GSMArena.com . Retrieved 29 April 2023. Dorschel, Andreas, 'The Paradox of Opera', The Cambridge Quarterly 30 (2001), no. 4, pp.283–306. ISSN 0008-199X (print). ISSN 1471-6836 (electronic). Discusses the aesthetics of opera. Francien Markx, E. T. A. Hoffmann, Cosmopolitanism, and the Struggle for German Opera, p. 32,BRILL, 2015, ISBN 9004309578 Some definitions of opera: "dramatic performance or composition of which music is an essential part, branch of art concerned with this" ( Concise Oxford English Dictionary); "any dramatic work that can be sung (or at times declaimed or spoken) in a place for performance, set to original music for singers (usually in costume) and instrumentalists" ( Amanda Holden, Viking Opera Guide); "musical work for the stage with singing characters, originated in early years of 17th century" ( Pears' Cyclopaedia, 1983 ed.). Opera version history — Opera 1 series". Opera Software. 21 February 2012. Archived from the original on 23 October 2014 . Retrieved 21 February 2012.

Rubin, Don; Chua, Soo Pong; Chaturvedi, Ravi; Majundar, Ramendu; Tanokura, Minoru, eds. (2001). "China". World Encyclopedia of Contemporary Theatre – Asia/Pacific. Vol.5. p.111. Western-style opera (also known as High Opera) exists alongside the many Beijing Opera groups. ... Operas of note by Chinese composers include A Girl With White Hair written in the 1940s, Red Squad in Hong Hu and Jiang Jie. Heyer, John Hajdu (7 December 2000). Lully Studies. Cambridge University Press. ISBN 978-0-521-62183-0– via Google Books.Powered by Opera compression technology, data-saving mode brings fast and smooth web browsing experience. Among her celebrated Wagnerian assumptions were Venus in Tannhäuser, Sieglinde in Die Walküre, Brünnhilde in Siegfried. In 1908, she participated in a notable production of Wagner's Ring Cycle, led by the eminent Hans Richter. Harada, Kai (1 March 2001). "Opera's Dirty Little Secret". Live Design. Archived from the original on 13 February 2012. Another feature of late 20th-century opera is the emergence of contemporary historical operas, in contrast to the tradition of basing operas on more distant history, the re-telling of contemporary fictional stories or plays, or on myth or legend. The Death of Klinghoffer, Nixon in China, and Doctor Atomic by John Adams, Dead Man Walking by Jake Heggie, Anna Nicole by Mark-Anthony Turnage, and Waiting for Miss Monroe [40] by Robin de Raaff exemplify the dramatisation onstage of events in recent living memory, where characters portrayed in the opera were alive at the time of the premiere performance. De, Pallab (22 December 2009). "Opera 10.5 Pre-Alpha Is Here and It Is Fast!". Techie-buzz.com. Archived from the original on 21 July 2012 . Retrieved 11 June 2014.

Oxford Illustrated History of Opera, Chapter 8; The Viking Opera Guide articles on Schoenberg, Berg and Stravinsky; Malcolm MacDonald Schoenberg (Dent,1976); Francis Routh, Stravinsky (Dent, 1975).

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Operatic terminology [ edit ] Audience at the Théâtre des Bouffes-Parisiens, the birthplace of Jacques Offenbach's operettas; caricature of 1860 by Émile Bayard Apel, Willi, ed. (1969). Harvard Dictionary of Music (2nded.). Cambridge, MA: Belknap Press of Harvard University Press. ISBN 0-674-37501-7. What is Opera, Opera next, and Opera developer?". Opera Desktop Team Blog. 14 January 2014 . Retrieved 16 September 2014. Mateu, Roberto (1 January 2010). "Opera 10.5 pre-alpha for Labs". Opera Labs. Opera Software. Archived from the original on 24 December 2009 . Retrieved 11 June 2014. Wagner was one of the most revolutionary and controversial composers in musical history. Starting under the influence of Weber and Meyerbeer, he gradually evolved a new concept of opera as a Gesamtkunstwerk (a "complete work of art"), a fusion of music, poetry and painting. He greatly increased the role and power of the orchestra, creating scores with a complex web of leitmotifs, recurring themes often associated with the characters and concepts of the drama, of which prototypes can be heard in his earlier operas such as Der fliegende Holländer, Tannhäuser and Lohengrin; and he was prepared to violate accepted musical conventions, such as tonality, in his quest for greater expressivity. In his mature music dramas, Tristan und Isolde, Die Meistersinger von Nürnberg, Der Ring des Nibelungen and Parsifal, he abolished the distinction between aria and recitative in favour of a seamless flow of "endless melody". Wagner also brought a new philosophical dimension to opera in his works, which were usually based on stories from Germanic or Arthurian legend. Finally, Wagner built his own opera house at Bayreuth with part of the patronage from Ludwig II of Bavaria, exclusively dedicated to performing his own works in the style he wanted.

The UI has been reimagined with a modular design that adapts as features are added or tabs are opened. Hughes, Matthew (6 August 2013). "Opera 15 Is A Faster, Simpler Chrome, And Here Are 3 Great Reasons To Try It". Makeuseof.com . Retrieved 12 June 2014. Powered by Opera: Opera Integrated with Adobe Creative Suite 2" (Press release). Opera Software. 4 April 2005 . Retrieved 11 June 2014. Man and Music: the Classical Era ed. Neal Zaslaw (Macmillan, 1989), pp. 242–247, 258–260; Oxford Illustrated History of Opera pp. 58–63, 98–103. Articles on Hasse, Graun and Hiller in Viking Opera Guide.In the second half of the 19th century, Jacques Offenbach created operetta with witty and cynical works such as Orphée aux enfers, as well as the opera Les Contes d'Hoffmann; Charles Gounod scored a massive success with Faust; and Georges Bizet composed Carmen, which, once audiences learned to accept its blend of Romanticism and realism, became the most popular of all opéra comiques. Jules Massenet, Camille Saint-Saëns and Léo Delibes all composed works which are still part of the standard repertory, examples being Massenet's Manon, Saint-Saëns' Samson et Dalila and Delibes' Lakmé. Their operas formed another genre, the Opera Lyrique, combined opera comique and grand opera. It is less grandiose than grand opera, but without the spoken dialogue of opera comique. At the same time, the influence of Richard Wagner was felt as a challenge to the French tradition. Many French critics angrily rejected Wagner's music dramas while many French composers closely imitated them with variable success. Perhaps the most interesting response came from Claude Debussy. As in Wagner's works, the orchestra plays a leading role in Debussy's unique opera Pelléas et Mélisande (1902) and there are no real arias, only recitative. But the drama is understated, enigmatic and completely un-Wagnerian. Scott, Derek B. (1998). "Orientalism and Musical Style". The Musical Quarterly. 82 (2): 323. doi: 10.1093/mq/82.2.309. JSTOR 742411. a b Reimer, Jeremy (1 September 2009). "First look: Opera 10 faster with new features". Ars Technica. Condé Nast . Retrieved 11 June 2014. A particular singer's voice may change drastically over his or her lifetime, rarely reaching vocal maturity until the third decade, and sometimes not until middle age. Two French voice types, premiere dugazon and deuxieme dugazon, were named after successive stages in the career of Louise-Rosalie Lefebvre (Mme. Dugazon). Other terms originating in the star casting system of the Parisian theatres are baryton-martin and soprano falcon. Wolfe trained as a singer at the Cork School of Music, Leinster School of Music & Drama, Dublin, and the Royal Academy of Music, London, followed by further studies at the Opera Studio at Zurich Opera House. He sang Don Pedro in Béatrice et Bénédict in Baden-Baden and Paris with European Opera. In Dublin he sang in Salome and Lady Macbeth of the Mtsensk District with Opera Ireland. At the Zurich Opera House he sang Baculus in Der Wildschütz.

The English word opera is an abbreviation of the Italian phrase opera in musica (“work in music”). It denotes a theatrical work consisting of a dramatic text, or libretto (“booklet”), that has been set to music and staged with scenery, costumes, and movement. Aside from solo, ensemble, and choral singers onstage and a group of instrumentalists playing offstage, the performers of opera since its inception have often included dancers. A complex, often costly variety of musico-dramatic entertainment, opera has attracted both supporters and detractors throughout its history and has sometimes been the target of intense criticism. Its detractors have viewed it as an artificial and irrational art form that defies dramatic verisimilitude. Supporters have seen it as more than the sum of its parts, with the music supporting and intensifying the lyrics and action to create a genre of greater emotional impact than either music or drama could achieve on its own. In his 1986 autobiography, stage and film director Franco Zeffirelli warned against taking opera too literally: Piccolomini, Pier Francesco (5 September 2013). "5 Alternatives to Internet Explorer". Softonic.com . Retrieved 12 June 2014. Blow's immediate successor was the better known Henry Purcell. Despite the success of his masterwork Dido and Aeneas (1689), in which the action is furthered by the use of Italian-style recitative, much of Purcell's best work was not involved in the composing of typical opera, but instead, he usually worked within the constraints of the semi-opera format, where isolated scenes and masques are contained within the structure of a spoken play, such as Shakespeare in Purcell's The Fairy-Queen (1692) and Beaumont and Fletcher in The Prophetess (1690) and Bonduca (1696). The main characters of the play tend not to be involved in the musical scenes, which means that Purcell was rarely able to develop his characters through song. Despite these hindrances, his aim (and that of his collaborator John Dryden) was to establish serious opera in England, but these hopes ended with Purcell's early death at the age of 36. Osborne, William (11 March 2004). "Marketplace of Ideas: But First, The Bill A Personal Commentary on American and European Cultural Funding". William Osborne and Abbie Conant. Archived from the original on 25 October 2016 . Retrieved 21 May 2017.Scene from Uzeyir Hajibeyovs " Leyli and Majnun" opera. 1934. Azerbaijan State Academic Opera and Ballet Theater The Bigger Picture". Thebiggerpicture.us. Archived from the original on 9 November 2010 . Retrieved 9 November 2010. Leoš Janáček gained international recognition in the 20th century for his innovative works. His later, mature works incorporate his earlier studies of national folk music in a modern, highly original synthesis, first evident in the opera Jenůfa, which was premiered in 1904 in Brno. The success of Jenůfa (often called the " Moravian national opera") at Prague in 1916 gave Janáček access to the world's great opera stages. Janáček's later works are his most celebrated. They include operas such as Káťa Kabanová and The Cunning Little Vixen, the Sinfonietta and the Glagolitic Mass. Carlo Broschi, better known as Farinelli, is considered by many as the greatest and most famous castrato singer. Nicholls sang with the Quinlan Opera Company during its 1912 tour of Australia. She was a frequent performer at the Royal Opera House, Covent Garden until 1924, and was a principal of the British National Opera Company, appearing under the baton of Sir Thomas Beecham and other leading conductors of the day. Indeed, in 1904, she married a conductor, Irish-born Hamilton Harty, who was to become famous as the director of the Hallé Orchestra. Harty was knighted in 1925 and Nicholls was styled subsequently as Lady Harty. He had frequently accompanied her on piano at song recitals, but his health deteriorated in the 1930s, and he and his wife became estranged. Harty died in 1941.