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{{italic title}}'''''Opera buffa''''' ({{IPA-it|[[Italiaans]]e uitspraak:ˈɔːpera ˈbufːa|lang}}; "comickomiese opera", pluralmeervoud: ''opere buffe'') is a'n genre ofvan [[opera]]. ItDit wasis firstaanvanklik usedgebruik as an'n informalinformele descriptionbeskrywing ofvan ItalianItaliaanse [[comickomiese opera]]soperas; variouslywat classifieddeur byhul theirouteurs authorsgeklassifiseer is as ''commedia in musica'', ''commedia per musica'', ''dramma bernesco'', ''dramma comico'', en ''divertimento giocoso''. Derhalwe het die genre verskeie benamings verkry.
 
Dit word veral geassosieer met gebeure en ontwikkelinge in [[Napels]] in die eerste helfte van die 18de eeu, toe dit gewildheid geword het in Rome en Noord-Italië; ''buffa'' is aanvanklik gekenmerk deur alledaagsheid, plaaslike dialekte en eenvoudige vokale skryfwerk (die ''basso buffo'' is die geassosieerde stemtipe). Die hoof vereiste is 'n duidelike uitspraak en frasering.
Especially associated with developments in [[Naples]] in the first half of the 18th century, whence its popularity spread to Rome and northern Italy, ''buffa'' was at first characterized by everyday settings, local dialects, and simple vocal writing (the [[basso buffo]] is the associated voice type), the main requirement being clear diction and facility with [[patter song|patter]].
 
''[[The New Grove Dictionary of Opera]]'' considersbeskou ''La Cilla'' (musicmusiek bydeur [[Michelangelo Faggioli]], textteks bydeur {{ill|Francesco Antonio Tullio|it}}, 1706) anden die komponiste [[Luigi Ricci (composer)|Luigi]]en and [[Federico Ricci]] se 's'' [[Crispino e la comare]]'' (1850) toas bedie theeerste firsten andlaaste lastverskyning appearancesvan of thedie genre, althoughhoewel thedie term issoms stillook occasionallyop appliednuwer towerk newertoegepas workword (forbyvoorbeeld example [[Ernst Krenek]]'s se ''[[Zeitoper]]'' ''[[Schwergewicht]]''). High pointsHoogtepunte in thisdie historygeskiedenis aredaarvan theis 80die orongeveer so80 libretti bydeur Carlindo Grolo, Loran Glodici, Sogol Cardoni <ref name =tenth>Patrick J. Smith: ''The Tenth Muse'' (Schirmer 1970) p. 103.</ref> anden variousverskeie other approximateander [[anagram]]sme ofvan [[Carlo Goldoni]], thedie threedrie [[Wolfgang Amadeus Mozart|Mozart]]/[[Lorenzo Da Ponte|Da Ponte]]samewerkings collaborations,en anddie thekomedies comedies ofvan [[Gioachino Rossini]] anden [[Gaetano Donizetti]].
 
SimilarSoortgelyke foreignvreemde genres such assoos ''[[opéra comique]]'' orof ''[[Singspiel]]'' differedverskil asdaarvan, wellmet ingesproke havingdialoog spokenin dialoguedie inplek place ofvan ''[[recitativo]]'' ''secco'', althoughalhoewel oneeen ofvan thedie mostdie influentialmees examplesinvloedryke voorbeelde, [[Giovanni Battista Pergolesi|Pergolesi]]'s se ''[[La serva padrona]],'' (whichwat is an'n [[intermezzo]], noten nie ''opera buffa'' is nie), sparkedaanleiding thegegee het tot die ''[[querelle des bouffons]]'' in ParisParys as ansynde adaptation'n withoutaanpassing sungsonder [[recitative]]sresitatiewe.
 
== Opéra bouffon==
[[Opéra bouffon]] is thedie FrenchFranse term forvir thedie ItalianItaliaanse genre ofvan opera buffa (comickomiese opera) performedwat in 18thdie [[18de-centuryeeu]]se Frankryk opgevoer Franceis, eitherhetsy in thedie originaloorspronklike languagetaal orof in Frenchdie translationFranse vertaling. ItDit wasis alsoook appliedtoegepas toop originaloorspronklike FrenchFranse [[opéras comiques]] havingmet ItalianateItaliaanse orof near-farcicalbyna klugtige plotsstorielyne.<ref>Bartlet, M Elizabeth C: "Opéra bouffon" in ''[[The New Grove Dictionary of Opera]]'', ed. [[Stanley Sadie]] (London, 1992, Volume three, p. 685) {{ISBN|0-333-73432-7}}.</ref>
 
TheDie term was alsois later usedook gebruik bydeur [[Jacques Offenbach]] forvir fivevyf ofvan hissy [[operettaoperette]]s (''[[Orphée aux enfers]]'', ''[[Le pont des soupirs]]'', ''[[Geneviève de Brabant]]'', ''{{ill|Le roman comique|fr|Le Roman comique (opéra)}}'' anden ''Le voyage de MM. Dunanan père et fils''<ref>[[Scores:Le voyage de MM. Dunanan père et fils (Offenbach, Jacques)]]</ref>), anden is sometimessomtyds confusedverwar withmet thedie FrenchFranse [[opéra comique]] anden [[opéra bouffe]].<ref>Notably André-Guillaume Contant d'Orville (''Histoire de l'opéra bouffon'', Amsterdam, 1768, [https://gallica.bnf.fr/ark:/12148/bpt6k81713/f1.image Vol. I] and [https://gallica.bnf.fr/ark:/12148/bpt6k8172d/f7.image Vol. II]) used the term as a synonym for ''opéra comique'' (Bartlet, cited above).</ref>
 
==HistoryGeskiedenis==
[[FileLêer:Alessandro Scarlatti.jpg|thumbduimnael|[[Alessandro Scarlatti]], oneeen ofvan thedie firsteerste majorbelangrike composerskomponiste ofvan ''opera buffa'']]
Comic characters had been a part of opera until the early 18th century, when ''opera buffa'' began to emerge as a separate genre, an early precursor having been the operatic comedy, ''[[Il Trespolo tutore]]'', by [[Alessandro Stradella]], in 1679. ''Opera buffa'' was a parallel development to ''[[opera seria]]'', and arose in reaction to the so-called first reform of [[Apostolo Zeno|Zeno]] and [[Metastasio]].<ref name=tenth/> It was, in part, intended as a genre that the common man could relate to more easily. Whereas ''opera seria'' was an entertainment that was both made for and depicted kings and nobility, ''opera buffa'' was made for and depicted common people with more common problems. High-flown language was generally avoided in favor of dialogue that the lower class would relate to, often in the local dialect, and the stock characters were often derived from those of the Italian ''[[commedia dell'arte]]''.
 
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In contrast, the model that generally held for ''opera buffa'' was having two acts (as, for example, ''The Barber of Seville''), presenting comic scenes and situations as earlier stated and using the lower male voices to the exclusion of the [[castrato|castrati]].<ref>Warrack, John; West, Ewan (1992), ''The Oxford Dictionary of Opera'', {{ISBN|0-19-869164-5}}</ref> This led to the creation of the characteristic "[[basso buffo]]", a specialist in [[Patter song|patter]] who was the center of most of the comic action. (A well-known basso buffo role is Leporello in [[Wolfgang Amadeus Mozart|Mozart's]] ''[[Don Giovanni]]'').
 
==ReferencesVerwysings==
===NotesNotas===
{{ReflistVerwysings}}
 
===SourcesBronne===
*[[Cliff Eisen|Eisen, Cliff]], et al. [http://www.oxfordmusiconline.com/subscriber/article/grove/music/40258pg3 "Mozart" in ''Grove Music Online''], ''Oxford Music Online'' sections 7&ndash;10. {{subscription}}(intekenaar diens)
*Fisher, Burton D, ''The Barber of Seville'' (Opera Classics Library Series). Grand Rapids: Opera Journeys, 2005.
*[[Donald Jay Grout|Grout, Donald]], ''A Short History of Opera''. New York, Columbia University Press, 1965.
*Hunter, Mary (1999), ''The Culture of ''opera buffa'' in Mozart's Vienna: A Poetics of Entertainment''. Princeton University Press, Princeton NJ 1999. (reviewedgeresenseer in: Stevens, Jane R. "Shifting Focus to Mozart's Operas." ''Eighteenth-Century Studies'', Vol. 35, No. 1 (FallHerfs 2001) pp.&nbsp;160&ndash;62.)
*Opera buffa. ''World Book Online Reference Center''. 2008.
*[[Roger Parker|Parker, Roger]], ''The Oxford illustrated History of Opera''
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*[[Piero Weiss|Weiss, Piero]]; [[Julian Budden]], [http://www.oxfordmusiconline.com/subscriber/article/grove/music/43721 "Opera buffa"], Grove Music Online. Oxford Music Online.
*Webster, James, Hunter, Mary (1997). ''Opera Buffa in Mozart's Vienna''. Cambridge University Press, Cambridge, England 1997. (reviewed in: Baker, Nicole. "Untitled." Notes, Second Series, Vol. 56, No. 1 (September 1999) pp.&nbsp;138&ndash;40.)
*[[Piero Weiss|Weiss, Piero]] and [[Julian Budden|Budden, Julian]] (1992). "Opera buffa" in ''[[The New Grove Dictionary of Opera]]'', edred. [[Stanley Sadie]], LondonLonden. {{ISBN|0-333-73432-7}}
 
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[[Kategorie:Opera]]
[[Category:Italian opera terminology]]
[[Category:Opera buffa| ]]
[[Category:Opera genres]]
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