Italian Opera the May monthly program of main events in the most famous Italian theaters and festivals. Don’t waste time and plan your visit to Italy now, a great choice of amazing performances is at hand, wherever you are in these days!
Gioachino Rossini embodied quite well the ideals of the Restoration, at least in the choice of traditional and already tested subjects. Yet, on the other side, his music was completely revolutionary for its novelty: rhythmic energy, robust orchestral texture, dynamic melodies are some of the elements of his new style.
At the end of 19th century it became clear that the style used in opera until 1890s couldn’t be used any more: the great social and cultural changes demanded new ways to express and increase the dramatic tension. The music coming from abroad (oltr’alpe-beyond the Alps) was becoming increasingly important. The new younger generation of composers, such as Puccini and Mascagni, where influenced not only by Wagner but also by younger composers such as Claude Debussy and Richard Strauss. Pelléas et Melisande premiered in 1902, Salome (1905) and Electra (1909), Strauss’s two breaking through operas, had a rapid success. Change demanded from older composers a conscious and radical effort while for those born after 1875 and used to the new music as part of their musical landscape, the transition to new ways of composing operas was more spontaneous, although different in nature and magnitude for each composer. Some composer intended their relationship with nineteenth-century Italian opera as “evolutionary” and continued to work within the traditional framework using at times new techniques and dramatic themes. Others felt that Italian music needed to break free from an opera that had become a stale entertainment for the new middle class and that a […]