GAUDIGUAD

Opera Order

As far as the nobles were rich, they could afford to be spoiled by an orchestra with music on a daily basis. For this they needed professional musicians, which is why they were required at court and were trained there or at least in its environment. Until the emergence of the rich bourgeoisie, no other people could afford professional musicians who only earn their livelihood at the courts of the aristocracy and therefore could only devote themselves to music all day there, practice and, as a result, make music professionally. Basically, composers could only be signed by the rich nobility. The baroque court theater stood for outstanding entertainment, music, actors and performances. This opened up a wide field for composers, playwrights, instrumental musicians, singers, actors and performers and, depending on the requirements and demands of the nobles, offered them the opportunity to fully demonstrate their talents and abilities and to create and perform ever larger and more complex works. The world's first public opera house, the "Teatro San Cassiano" was opened in Venice in 1637, the world's second and first in the entire German-speaking area, the "Oper am Gänsemarkt" in Hamburg in 1678.

With the development to Opéra-comique, the Comédie en Vaudeville became, as it were, acceptable to the aristocratic ideas and expectations of the theater and with regard to the residences of the ruling nobility and the places of their theaters. Now its numbers in the class of the nobility and with the Latin language, the language of the clergy, nobility and science, were raised to "OPERA", in English "works". Finally, the Opéra-comique was expanded in Germany with further musical elements and found a famous example in the opera "Fidelio" (premiered in Vienna 1805) by Ludwig van Beethoven (1770 to 1827), which acts as a German variant of the French liberation opera applies, in which a blameless or irreproachable person is liberated from the clutches of a powerful or unjust, and in this essence is more of a German Opéra-comique than a Singspiel.

The French Opéra-comique found its Italian counterpart in the Opera buffa, which, according to its predication with the Italian adjective "buffa", which means the same as the French adjective "comique", treats the same subjects as the Opéra-comique. But in contrast to this, it also consisted of sung recitatives.