Dramma giocoso in the context of "Lorenzo Da Ponte"

Don Giovanni (Italian pronunciation: [ˈdɔn dʒoˈvanni]; K. 527; full title: Il dissoluto punito, ossia il Don Giovanni, literally The Rake Punished, or Don Giovanni) is an opera in two acts with music by Wolfgang Amadeus Mozart to an Italian libretto by Lorenzo Da Ponte. Its subject is a centuries-old Spanish legend about a libertine as told by playwright Tirso de Molina in his 1630 play El burlador de Sevilla y convidado de piedra. It is a dramma giocoso blending comedy, melodrama and supernatural elements (although the composer entered it into his catalogue simply as opera buffa). It was premiered by the Prague Italian opera at the National Theatre (of Bohemia), now called the Estates Theatre, on 29 October 1787. Don Giovanni is regarded as one of the greatest operas of all time and has proved a fruitful subject for commentary in its own right; critic Fiona Maddocks has described it as one of Mozart's "trio of masterpieces with librettos by Da Ponte".

L'italiana in Algeri (Italian pronunciation: [litaˈljaːna in alˈdʒɛːri]; The Italian Girl in Algiers) is an operatic dramma giocoso in two acts by Gioachino Rossini to an Italian libretto by Angelo Anelli, based on his earlier text set by Luigi Mosca. It premiered at the Teatro San Benedetto in Venice on 22 May 1813. The music is characteristic of Rossini's style, remarkable for its fusion of sustained, manic energy with elegant, pristine melodies.

La Cenerentola, ossia La bontà in trionfo ("Cinderella, or Goodness Triumphant") is an operatic dramma giocoso in two acts by Gioachino Rossini. The libretto was written by Jacopo Ferretti, based on the libretti written by Charles-Guillaume Étienne for the opera Cendrillon with music by Nicolas Isouard (first performed Paris, 1810) and by Francesco Fiorini for Agatina, o la virtù premiata [it] with music by Stefano Pavesi (first performed Milan, 1814). All these operas are versions of the fairy tale Cendrillon by Charles Perrault. Rossini's opera was first performed in Rome's Teatro Valle on 25 January 1817.

In this variation of the fairy tale, the wicked stepmother is replaced by a stepfather, Don Magnifico. The Fairy Godmother is replaced by Alidoro, a philosopher and tutor to the Prince. Cinderella is identified not by a glass slipper but by her silver bracelet. The supernatural elements that traditionally characterize the Cinderella story were removed from the libretto simply for ease of staging.

Il viaggio a Reims, ossia L'albergo del giglio d'oro (The Journey to Reims, or The Hotel of the Golden Fleur-de-lis) is an operatic dramma giocoso, originally performed in three acts, by Gioachino Rossini to an Italian libretto by Luigi Balocchi [ca], based in part on the 1807 novel Corinne ou l'Italie by Germaine de Staël.

Rossini's last opera in the Italian language (all of his later works were in French) premiered under the title Le voyage à Reims, ou l'Hôtel du Lys-d'Or. It was commissioned to celebrate the coronation of French King Charles X in Reims in May 1825 and has been acclaimed as one of Rossini's finest compositions. A demanding work, it requires 14 soloists (three sopranos, one contralto, two tenors, four baritones, and four basses). At its premiere, it was sung by the greatest voices of the day.

The phrase dramma per musica (also spelled drama per musica; Italian, literally: 'play (or drama) for music', plural: drammi per musica) is commonly found after the title in Italian opera librettos beginning in the 17th century and continuing into the 18th century. It indicates that the text was intended to be set to music by a composer. By extension it has also been used to refer to the musical setting itself, but this is less common.

In the 18th century, dramma per musica came to be most commonly used for librettos of serious Italian operas, today known as opera seria (a term that was little-used when they were created), while the term dramma giocoso began to be used for the librettos of comic operas.

Florian Leopold Gassmann (3 May 1729 – 21 January 1774) was a German-speaking Bohemian opera composer of the transitional period between the baroque and classical eras. He was one of the principal composers of dramma giocoso immediately before Mozart. He was one of Antonio Salieri's teachers.