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UNIT III - Class 19
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6. Le Nozze di Figaro (1786) From the controversial play by Beaumarchais Social Commentary (opposition of master and servant) Intrigue, Disguise, Deception, Confusion, Lust, Love Count Almaviva Countess Almaviva Susanna – her maid Figaro – his valet Cherubino – page to the Count Bartolo – the Countess’s former guardian Marcellina – Bartolo’s maid Basilio – a music master
7. Opera at the end of the Century Mozart’s success in Opera Buffa helped weaken the clear distinctions between serious and comic opera The ascent of normal characters and realistic situations changed the nature of the “serious”/”popular” divide in opera Mozart’s achievement in combining absolute technical, musical, and dramatic skill in an intelligent but accessible manner has been compared – appropriately – to Shakespeare
![Opera in the 18 th Century ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],French Opera Saw a similar assent of comic/everyday subjects in the contrast between Tragédie lyrique and Opéra Comique](https://image.slidesharecdn.com/class19-090318141440-phpapp01/85/unit-iii-class-19-1-320.jpg)
![Christoph Willibald Gluck (1714-87) ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7)