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''Opera seria'' (plural: ''opere serie''; usually called ''dramma per musica'' or ''melodramma serio'') is an Italian musical term which refers to the noble and "serious" style of Italian opera that predominated in Europe from the 1710s to c. 1770. The term itself was rarely used at the time and only attained common usage once ''opera seria'' was becoming unfashionable and beginning to be viewed as a historical genre. The popular rival to ''opera seria'' was ''opera buffa,'' the 'comic' opera that took its cue from the improvisatory commedia dell'arte. Italian ''opera seria'' (invariably to Italian libretti) was produced not only in Italy but also in Spain, Habsburg Austria, England, Saxony, German states, and other countries. ''Opera seria'' was less popular in France, where the national genre of French opera was preferred. Popular composers of ''opera seria'' included Alessandro Scarlatti, Johann Adolf Hasse, Leonardo Vinci, Nicola Porpora, George Frideric Handel, and in the second half of the 18th century Tommaso Traetta, Josef Mysliveček, Gluck, and Mozart. == Structure == ''Opera seria'' built upon the conventions of the High Baroque era by developing and exploiting the ''da capo'' aria, with its A-B-A form. The first section presented a theme, the second a complementary one, and the third a repeat of the first with ornamentation and elaboration of the music by the singer. As the genre developed and arias grew longer, a typical ''opera seria'' would contain not more than thirty musical movements.〔Grove, section 1: "Dramaturgy"〕 A typical opera would start with an instrumental overture of three movements (fast-slow-fast) and then a series of recitatives containing dialogue interspersed with arias expressing the emotions of the character, this pattern only broken by the occasional duet for the leading amatory couple. The recitative was typically ''secco'': that is, accompanied only by ''continuo'' (harpsichord and cello, sometimes supported by further bass instruments). At moments of especially violent passion ''secco'' was replaced by ''stromentato'' recitative, where the singer was accompanied by the entire body of strings. After an aria was sung, accompanied by strings and oboe (and sometimes with horns or flutes), the character usually exited the stage, encouraging the audience to applaud. This continued for three acts before concluding with an upbeat chorus, to celebrate the jubilant climax. The leading singers each expected their fair share of arias of varied mood, be they sad, angry, heroic or meditative. The dramaturgy of opera seria largely developed as a response to French criticism of what were often viewed as impure and corrupting librettos. As response, the Rome-based Academy of Arcadia sought to return Italian opera to what they viewed as neoclassical principles, obeying the dramatic Unities of Aristotle and replacing "immoral" plots, such as Busenello's for ''L'Incoronazione di Poppea'', with highly moral narratives that aimed to instruct, as well as entertain. However, the often tragic endings of classical drama were rejected out of a sense of decorum: early writers of ''opera seria'' librettos such as Apostolo Zeno felt that virtue should be rewarded and shown triumphant, while the antagonists were to be put on their way to remorse. The spectacle and ballet so common in French opera were banished.〔Grove, section 1: "Dramaturgy"〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「opera seria」の詳細全文を読む スポンサード リンク
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