{"id":93870,"date":"2018-02-08T21:17:09","date_gmt":"2018-02-08T21:17:09","guid":{"rendered":"https:\/\/essay-pool.com\/1-what-are-the-characteristics-of-grand-opera\/"},"modified":"2017-10-13T09:03:11","modified_gmt":"2017-10-13T09:03:11","slug":"1-what-are-the-characteristics-of-grand-opera","status":"publish","type":"post","link":"https:\/\/www.benedictsol.com\/blogs\/1-what-are-the-characteristics-of-grand-opera\/","title":{"rendered":"1.What are the characteristics of grand opera?"},"content":{"rendered":"<p>grand opera1.What are the characteristics of grand opera <\/p>\n<p>2. Meyerbeer quoted the Lutheran chorale Ein feste Burg (NAWM 46c) many times in Les Huguenots prior to its statement in the conclusion of act 2 (NAWM 147), although you do not have excerpts from all its statements. Why is the use of this particular hymn appropriate dramatically for the entire opera  Why is it appropriate for this scene in particular <\/p>\n<p>3. What is op\u00e9ra bouffe, when did it come into existence, and what social roles did it serve <\/p>\n<p>4. What makes Carmen an example of realism and exoticism  Refer to the scene in NAWM 152 specifically to illustrate your points.<\/p>\n<p>5. Diagram the form of the scene from Il barbiere di Siviglia in NAWM 145, including indications of instrumental and vocal sections, melodic and thematic repetitions, and changes in tempo, style, and figuration. How do the changes of style, tempo, and figuration help to convey what Rosina is saying and feeling  What did audiences value in Rossini\u2019s operatic style  Refer to specific aspects of this scene from Il barbiere di Siviglia to illustrate your general points.<\/p>\n<p>6. Sketch the form of the scena and duet from act 3 of Verdi\u2019s La traviata (NAWM 150), providing terms for each section. Describe the melodic styles of the Andante section, \u201cParigi, o cara,\u201d and the Allegro section, \u201cAh! Gran Dio!\u201d Why do you think Verdi used the melodic styles that he did  Do you think his choices were effective  Explain your answer.<\/p>\n<p>7. What distinguishing characteristics of German Romantic opera plots in the early nineteenth century are exemplified in Weber\u2019s Der Freisch\u00fctz as a whole and in the Wolf\u2019s Glen scene (NAWM 148) in particular <\/p>\n<p>8. What is melodrama  Where and how is it used in the Wolf\u2019s Glen scene of Der Freisch\u00fctz  Why do you think its use in this scene might be more effective than using recitative <\/p>\n<p>9. Look at the form diagram of the conclusion to act 1 of Tristan und Isolde (NAWM, p. 787). How does Wagner use leitmotives to develop the plot in the conclusion of act 1 (NAWM 149b)  How does the harmonic language used for the sailors (e.g., at mm. 196\u2013203), \u201cHeil! K\u00f6nig Marke Heil!\u201d) differ from that used for Tristan and Isolde after they have drunk the love potion  Why is this contrast appropriate, and how does it heighten the drama <\/p>\n","protected":false},"excerpt":{"rendered":"<p>grand opera1.What are the characteristics of grand opera 2. Meyerbeer quoted the Lutheran chorale Ein feste Burg (NAWM 46c) many times in Les Huguenots prior to its statement in the conclusion of act 2 (NAWM 147), although you do not <a href=\"https:\/\/www.benedictsol.com\/blogs\/1-what-are-the-characteristics-of-grand-opera\/\" class=\"read-more\">Read More &#8230;<\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-93870","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/posts\/93870","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/comments?post=93870"}],"version-history":[{"count":0,"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/posts\/93870\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/media?parent=93870"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/categories?post=93870"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/tags?post=93870"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}