Opéra bouffon

Today, Opéra bouffon is a relevant topic and of great interest to many people around the world. With the advancement of technology and globalization, Opéra bouffon has become a meeting point for diverse opinions and perspectives. In this article, we will explore different aspects of Opéra bouffon, from its impact on society to the current trends surrounding it. We will dive into an in-depth analysis that will allow us to better understand the importance of Opéra bouffon in today's world and how it has evolved over time. Through this article, we hope to provide a comprehensive view of Opéra bouffon and its relevance today.

Opéra bouffon (French pronunciation: [ɔpeʁa bufɔ̃]) is the French term for the Italian genre of opera buffa (comic opera) performed in 18th-century France, either in the original language or in French translation. It was also applied to original French opéras comiques having Italianate or near-farcical plots.[1]

The term was also later used by Jacques Offenbach for five of his operettas (Orphée aux enfers, Le pont des soupirs, Geneviève de Brabant, Le roman comique and Le voyage de MM. Dunanan père et fils[2]), and is sometimes confused with the French opéra comique and opéra bouffe.[3]

Notes

  1. ^ Bartlet, M. Elizabeth C. (2001). "Opéra bouffon (Fr.)". Grove Music Online (8th ed.). Oxford University Press. doi:10.1093/gmo/9781561592630.article.43699. ISBN 978-1-56159-263-0.
  2. ^ Le voyage de MM. Dunanan père et fils (Offenbach): Scores at the International Music Score Library Project
  3. ^ Notably André-Guillaume Contant d'Orville (Histoire de l'opéra bouffon, Amsterdam 1768, Vol. I and Vol. II) used the term as a synonym for opéra comique (Bartlet).