![]() ![]() Poster for Madam Butterfly, Poligrafici Luigi Parma, 1974, Italy. ![]() In Britain, Benjamin Britten composed both 'traditional' operas like Peter Grimes (1945) and pared-back 'chamber operas' such as The Rape of Lucretia (1946) and The Turn of the Screw (1954). By 1740, the line between intermezzi and comic opera in Italy had become very blurred and it is at this point that the term opera buffa was born. In Austria, Alban Berg wrote the atonal Wozzeck in 1925, while Kurt Weill created his jazz-inspired work, The Threepenny Opera, in 1928. It developed from the intermezzi, or interludes, performed between the acts of serious operas. Opera seria (serious opera) contrasted with opera buffa, a more popular and more accessible style created by the Italians based on farce and high spirits. It quickly made its way to France, where it became opra comique, and. As the century progressed, the general trends of opera became even more fractured, under the influence of the Avant Garde movement. 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 wit. Opera buffa, (Italian: comic opera) genre of comic opera originating in Naples in the mid-18th century. By the 1730s, a new operatic genre, opera buffa, emerged as an alternative to opera seria. In France, Debussy explored poetic and evocative melody, composing Pelleas and Melisande, (1902), while in Germany, Strauss was dissonant and intentionally shocking in his approach, with extreme subject matter such as Salome, with its erotic 'Dance of the Seven Veils', in 1905. In Italy, Puccini recreated 19th century romanticism with well-loved operas such as Tosca (1900), Madam Butterfly (1904), and Turandot (1926). ![]() The 20th century saw a more individualistic approach. ![]()
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