Spieloper

Under a comic opera was understood in the 19th century, a comic opera in imitation of the Singspiel. In contrast to the opera buffa comic opera and musical comedy not contain recitatives, but spoken dialogue. A comic opera was usually an opera with relish playing like or sentimental plot and lighter, pleasing music, to distinguish them from serious opera.

The comic opera derives from the French opéra comique of the later 18th century ago, a specifically bourgeois form of the opera. Fluent are the limits to less music containing " farce with songs ", the musical-dramatic vaudeville and modern operetta.

Similarly, there is the role of subjects or vocal fan of "play tenor " or " bass playing " for singer with a lighter voice and acting, mostly comedic skills. Game operas were often given by touring companies, in their repertoire, there was no sharp distinction between drama and opera.

As prime examples of the works of Albert Lortzingstraße are often called, such as Zar und Zimmermann, The Poacher, The armourer, or Otto Nicolai's The Merry Wives of Windsor. Also, Carl Maria von Weber's Der Freischütz is an opera game. Composed by Conradin Kreutzer's operas such as night camp in Granada and Friedrich von Flotow's Martha are usually not taken into this genre.

The term comic opera has often been invoked in German since the late 19th century for a " national style ".

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