Is there an issue? Send a MessageReason:
None
Changed line(s) 14,16 (click to see context) from:
* ''Theatre/{{Agrippina}}''
* ''Theatre/GiulioCesareInEgitto''
* ''Theatre/{{Semele}}''
* ''Theatre/GiulioCesareInEgitto''
* ''Theatre/{{Semele}}''
to:
* ''Theatre/{{Agrippina}}''
''Theatre/{{Florindo}}'' (1708)
*''Theatre/GiulioCesareInEgitto''
''Theatre/{{Agrippina}}'' (1709)
*''Theatre/{{Semele}}''''Theatre/{{Rinaldo}}'' (1711)
* ''Theatre/{{Scipione}}'' (1726)
* ''Theatre/GiulioCesareInEgitto'' (1724)
* ''Theatre/{{Semele}}'' (1744)
*
*
* ''Theatre/{{Scipione}}'' (1726)
* ''Theatre/GiulioCesareInEgitto'' (1724)
* ''Theatre/{{Semele}}'' (1744)
Is there an issue? Send a MessageReason:
None
Changed line(s) 48 (click to see context) from:
* GenreBusting: Scholars still argue over whether ''Hercules'' and ''Semele'' are {{oratorio}}s, {{opera}}s or something else (even though they're performed in opera houses quite a bit). Händel called ''Hercules'' 'A Musical Drama' and said ''Semele'' would be performed 'After the manner of an oratorio' (implying it wasn't actually one), so it seems even the man himself didn't want to nail his colours to the mast.
to:
* GenreBusting: Scholars still argue over whether ''Hercules'' and ''Semele'' are {{oratorio}}s, {{opera}}s or something else (even though they're performed in opera houses quite a bit).often staged as operas nowadays). Händel called ''Hercules'' 'A Musical Drama' and said ''Semele'' would be performed 'After the manner of an oratorio' (implying it wasn't actually one), so it seems even the man himself didn't want to nail his colours to the mast.
Is there an issue? Send a MessageReason:
None
Changed line(s) 37 (click to see context) from:
* DownerEnding: Given that opera and oratorio of the time had a strong emphasis on happy endings, these are few and far between, but the English oratorio ''Theodora'' is an outstanding exception, finishing with the execution of the title character and her lover.
to:
* DownerEnding: Given that opera {{opera}} and oratorio {{oratorio}} of the time had a strong emphasis on happy endings, these are few and far between, but the English oratorio ''Theodora'' is an outstanding exception, finishing with the execution of the title character and her lover.
Changed line(s) 48 (click to see context) from:
* GenreBusting: Scholars still argue over whether ''Hercules'' and ''Semele'' are oratorios, operas or something else (even though they're performed in opera houses quite a bit). Händel called ''Hercules'' 'A Musical Drama' and said ''Semele'' would be performed 'After the manner of an oratorio' (implying it wasn't actually one), so it seems even the man himself didn't want to nail his colours to the mast.
to:
* GenreBusting: Scholars still argue over whether ''Hercules'' and ''Semele'' are oratorios, operas {{oratorio}}s, {{opera}}s or something else (even though they're performed in opera houses quite a bit). Händel called ''Hercules'' 'A Musical Drama' and said ''Semele'' would be performed 'After the manner of an oratorio' (implying it wasn't actually one), so it seems even the man himself didn't want to nail his colours to the mast.
Changed line(s) 50 (click to see context) from:
* GreekChorus: In a lot of the oratorios, particularly (and unsurprisingly) the ones based on Myth/ClassicalMythology.
to:
* GreekChorus: In a lot of the oratorios, {{oratorio}}s, particularly (and unsurprisingly) the ones based on Myth/ClassicalMythology.
Is there an issue? Send a MessageReason:
None
Changed line(s) 8,9 (click to see context) from:
Händel made his name and fortune composing operas in Italian, writing over 40 of them, most of them for the English market after he moved to London; he was the first ever composer to [[MoneyDearBoy become rich and famous from composing]]. So many people wanted to attend ''just the rehearsal'' of his "Music for the Royal Fireworks" that it caused a three-hour-long traffic jam on London Bridge. In the 1740s, the audience's taste for Italian opera mysteriously went away, helped along by the smash hit of John Gay's ''Theatre/TheBeggarsOpera'' in English. So after a brief period of reconsideration Handel, recognizing what the audience wanted, began to write oratorios in English, the most famous of which (and most famous overall) is ''Messiah''. (Yes, it's the one with the [[StandardSnippet "Hallelujah" chorus.)]]
to:
Händel made his name and fortune composing operas in Italian, writing over 40 of them, most of them for the English market after he moved to London; he was the first ever composer to [[MoneyDearBoy become rich and famous from composing]]. So many people wanted to attend ''just the rehearsal'' of his "Music for the Royal Fireworks" that it caused a three-hour-long traffic jam on London Bridge. In the 1740s, the audience's taste for Italian opera mysteriously went away, helped along by the smash hit of John Gay's ''Theatre/TheBeggarsOpera'' in English. So after a brief period of reconsideration Handel, recognizing what the audience wanted, began to write oratorios {{oratorio}}s in English, the most famous of which (and most famous overall) is ''Messiah''. (Yes, it's the one with the [[StandardSnippet "Hallelujah" chorus.)]]
Is there an issue? Send a MessageReason:
As per Red Link, we encourage the creation of links to works not yet on the wiki
