Niccolò Piccinni in the context of "Dramma giocoso"

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👉 Niccolò Piccinni in the context of Dramma giocoso

Dramma giocoso (Italian, literally: drama with jokes; plural: drammi giocosi) is a genre of opera common in the mid-18th century. The term is a contraction of dramma giocoso per musica and describes the opera's libretto (text). The genre developed in the Neapolitan opera tradition, mainly through the work of the playwright Carlo Goldoni in Venice. A dramma giocoso characteristically used a grand buffo (comic or farce) scene as a dramatic climax at the end of an act. Goldoni's texts always consisted of two long acts with extended finales, followed by a short third act. Composers Baldassare Galuppi, Niccolò Piccinni, and Joseph Haydn set Goldoni's texts to music.

The only operas of this genre that are still frequently staged are Mozart and Da Ponte's Don Giovanni (1787) and Così fan tutte (1790), Rossini's L'italiana in Algeri (1813) and La Cenerentola (1817), and Donizetti's L'elisir d'amore (1832).

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Niccolò Piccinni in the context of Neapolitan School

In music history, the Neapolitan School is a group, associated with opera, of 17th and 18th-century composers who studied or worked in Naples, Italy, the best known of whom is Alessandro Scarlatti, with whom "modern opera begins". Francesco Provenzale is generally considered the school's founder. Other significant composers of this school are Giovanni Battista Pergolesi, Niccolò Piccinni, Domenico Cimarosa and Giovanni Paisiello.

The Neapolitan School has been considered in between the Roman School and the Venetian School in importance.

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Niccolò Piccinni in the context of Neapolitan school

In music history, the Neapolitan School is a group, associated with opera, of 17th and 18th-century composers who studied or worked in Naples, Italy, the best known of whom is Alessandro Scarlatti, with whom "modern opera begins". Francesco Provenzale is generally considered the school's founder. Other significant composers of this school are Giovanni Battista Pergolesi, Niccolò Piccinni, Domenico Cimarosa and Giovanni Paisiello. It also addressed other musical genres, particularly the oratorio and the concerto.

The Neapolitan School has been considered in between the Roman School and the Venetian School in importance.

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