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How to Listen to and Understand Opera
32xDVDRip | MP4/AVC1, ~800 kb/s | 640x480 | Duration: 24:24:48 | English: AAC, 96 kb/s (2 ch) | 8.57 GB
Genre: eLearning Video / Opera, Classical Music

With the knowledge of opera from this course, you will understand how music has the power to reveal truths beyond the spoken word; how opera is a unique marriage of words and music in which the whole is far greater than its parts.

Verdi's Otello is discussed as one of the greatest operas of all time.
You next study French opera and why it became a distinctly different genre from Italian opera. Nineteenth-century French opera-grand opera, op3;ra comique, and lyric opera-are three distinctive French genres. You'll hear why in Act 2 of Bizet's dramatically powerful Carmen .
You see how German singspiel, a play with music, grew from humble origins as a low-class entertainment to high art with Mozart's The Rescue from the Harem (1782) and The Magic Flute (1791). You learn how Carl Maria von Weber's Der Freisch2;tz established 19th-century German opera.
You then study Richard Wagner: his personal beliefs, musical theories, and operatic innovations. Wagner turned to the ancient Greek ideal for inspiration, and from it he conceived the idea of an all-encompassing artwork, or music drama, in which the orchestra plays the role of a purveyor of unspoken truths. Dr. Greenberg cites Wagner's Tristan und Isolde as the most influential composition of the 19th century, next to Beethoven's Ninth Symphony.
Richard Strauss and his controversial opera Salome exemplifies late Romantic German opera.
You examine Russian opera and nationalism. The late development of Russian opera is outlined from Mikhail Glinka's Ruslan and Lyudmila to Modest Mussorgsky's Boris Godunov. You see how the Russian language shaped the vocal style of Russian opera.
The course concludes with an overview of opera verismo, a 19th- and 20th-century genre that favors depictions of the darker side of the human condition; a transcendent example of it is in the pivotal second act of Giacomo Puccini's Tosca.
The essence of opera is debated as you hear part of a scene from Richard Strauss's Capriccio. Is it words, or is it music? It is an indefinable combination of both, with the whole greater than the parts.
Course Lecture Titles
45 minutes / lecture
01. Introduction and Words and Music, I
02. Introduction and Words and Music, II
03. A Brief History of Vocal Expression in Music, I
04. A Brief History of Vocal Expression in Music, II
05. Invention of Opera and Monteverdi's Orfeo, I
06. Invention of Opera and Monteverdi's Orfeo, II
07. Invention of Opera and Monteverdi's Orfeo, III
08. Invention of Opera and Monteverdi's Orfeo, IV
09. The Growth of Opera, the Development of Italian Opera Seria, and Mozart's Idomeneo, I
10. The Growth of Opera, the Development of Italian Opera Seria, and Mozart's Idomeneo, II
11. The Growth of Opera, the Development of Italian Opera Seria, and Mozart's Idomeneo, III
12. The Growth of Opera, the Development of Italian Opera Seria, and Mozart's Idomeneo, IV
13. The Rise of Opera Buffa and Mozart's The Marriage of Figaro, I
14. The Rise of Opera Buffa and Mozart's The Marriage of Figaro, II
15. The Rise of Opera Buffa and Mozart's The Marriage of Figaro, III
16. The Rise of Opera Buffa and Mozart's The Marriage of Figaro, IV
17. The Bel Canto Style and Rossini's The Barber of Seville, I
18. The Bel Canto Style and Rossini's The Barber of Seville, II
19. Verdi and Otello, I
20. Verdi and Otello, II
21. Verdi and Otello, III
22. Verdi and Otello, IV
23. French Opera, I
24. French Opera, II
25. German Opera Comes of Age
26. Richard Wagner and Tristan und Isolde, I
27. Richard Wagner and Tristan und Isolde, II
28. Late Romantic German Opera-Richard Strauss and Salome
29. Russian Opera, I
30. Russian Opera, II
31. Verismo, Puccini, and Tosca, I
32. Verismo, Puccini, and Tosca, II
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