OPERA AND DRAMA: DIFFERING VIEWS

Opera and drama: Watching the landscape Opera and drama are two closely related fields in the performing arts field; many people think of these as personal aspects and should produce better results. Although deeming a drama as an opera is considered illogical. Opera's story is conveyed through music and scripts, simply by combining the two. Michael Tipett's opera 'Midsummer Marriage' includes other forms of influence (examples of Wagner and Verdy's paintings) and Tiibet's own futuristic ideas.

In "Opera and drama" (1851), Wagner explained the aesthetics of the theater he used to create the ring opera. Prior to leaving Dresden, Wagner drafted a scene that eventually became a four wheel drive cycle Der Ring des Nibelungen. He originally wrote a script for Opera Steve Friedstoder (Death of Siegfried) in 1848. After arriving in Zurich, he developed a story with the opera de Jean Geis Fried (Young Siegfried) and explored the hero's background. He wrote a script for Die Walküre (The Valkyrie) and Das Rheingold (Rhinkin) and modified other lyrics to support his new concept. The concept of opera is expressed in "opera and drama" and the other articles virtually abandoned operas he previously wrote including Ron Green. In 1851, Wagner announced autobiography for "communicating with friends" in order to explain the change in his opinion.

Opera and drama: Watching the landscape Opera and drama are two closely related fields in the performing arts field; many people think of these as personal aspects and should produce better results. Although deeming a drama as an opera is considered illogical. Opera's story is conveyed through music and scripts, simply by combining the two. Michael Tipett's opera 'Midsummer Marriage' includes other forms of influence (examples of Wagner and Verdy's paintings) and Tiibet's own futuristic ideas.

Juxtaposition of heterogeneous elements can be regarded as a legal legacy of theater art, and in a new way music is dominated by dramas. The opera itself evolved into two different forms: a serious opera, an opera drama, a comedy opera, an opera. The latter, especially in Naples in southern Italy, is controlled by Alessandro Scarlatti and his followers Leonard Leo and Giovanni Battista Pergolessi. It includes contemporary types and situations, not historical and mythological themes, but it provides an active element for the opera: ensemble. If an aural drama is impossible, at the same time expressing different characters and emotions, and now giving polyphony a new function, it also has a big impact on instrumental music.