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Obbligato definition: An obbligato is a solo instrumental section during a vocal number. An obbligato is designed to support the principal vocal part and offer the singer some relief during the performance.

Example: In our Atrium Sessions, Rhoslyn Jones sings "Er ist gekommen in Sturm und Regen" as Matthew Piatt, the pianist, supplies the obbligato.

Opera seria definition: As the name suggests, opera seria is serious opera that focuses on more weighty or historical subjects and usually ends in tragedy. Opera seria was developed before opera buffa and was created specifically for the nobility and ruling classes to enjoy.

But the biggest difference between opera buffa vs. opera seria is the focus. Opera seria deals with kings, gods, and ancient heroes, whereas opera buffa involves everyday people in contemporary settings dealing with everyday struggles. Another major difference between opera seria and opera buffa is the act structure. Opera seria usually has three acts, whereas opera buffa typically has just two.

Example: A prime example of opera seria is Orlando by George Frideric Handel, who was a popular composer of many opera seria. This is an opera that once would have involved the use of a castrato singer, but which now uses a countertenor for the same role. To learn more about what those terms mean, check out our blog on opera voice types!

Portamento definition: Portamento is the vocal technique of sliding between pitches continuously instead of jumping between the two notes.

Example: Portamento is often a characteristic of bel canto. Look back at our example for bel canto, and see if you can spot when Russell Thomas uses portamento during his aria as Roberto Devereux!

As opera left its toddler years behind, it grew more restrictive and extravagant at the same time. Around 1700, a new style called opera seria began to dominate. It was, as the name implies, "serious opera," and was driven by two main forces: formulaic librettos and flamboyant singers.

And shine they did. This was the age of the rock star castrati, the superpowered male singers who were castrated before puberty to preserve their high voices. The combination of such high tones produced from the chests of full-grown men made for virtuoso singing that has not, we're told, been matched since. (To hear the so-called "last castrato," though weakened by advanced age when the recoding was made, click here.)

Alessandro Scarlatti, who helped push the new style of opera seria into place, is ripe for rediscovery. He wrote 114 operas, yet none are performed today. The libretto of Griselda, his final opera, which debuted in Rome in 1721, was by Zeno (many other composers set this text) and concerns a king's rocky relationship with his wife Griselda, a shepherdess. Soprano Dorothea Rschmann sings the title role, which in Scarlatti's day would have been sung by a castrato. This excerpt features the "return" of the da capo aria with its beautiful ornaments. Note a similarity to Mozart arias like "Porgi Amor," which would come some 65 years later.

Vivaldi wrote some 45 operas but only 21 have survived. Fortunately, quite a few have been recorded in recent years. Although working within the strict opera seria format, Vivaldi's operas contain some of his most indulgent and exciting music. L'Olimpiade, from 1734, has a Metastasio libretto, and this aria, "We are ships abandoned," was written for castrato Marianino Nicolini. The metaphor of a turbulent sea is matched by Vivaldi's ferociously difficult coloratura writing, delivered with appropriate vigor by Cecilia Bartoli.

Handel's 45 or so operas were all but forgotten until around 1920, and even then few were performed. It would take the period instruments movement a couple of decades later to trigger a major Handel opera revival. In his own way, Handel pushed the opera seria envelope, writing recitatives and arias of deep emotional intensity and dramatic urgency, even allowing characters to interrupt each other's arias. Handel wrote for the best castrati, but his music for them was not all rapid-fire pyrotechnics. In this aria (written for castrato Giovanni Carestini and sung here by Joyce DiDonato), a lovelorn Ariodante contemplates suicide to some of Handel's most ravishing music.

While opera seria was sweeping Italy and elsewhere, the French had their own form of operatic structure called tragdie lyrique. The blueprint was developed by Jean-Baptiste Lully during the Louis XIV era and dictated subjects of mythology set in a prologue followed by five acts including ballet and instrumental music. Jean-Philippe Rameau inherited the form but extended its emotional depth with more dramatic recitatives, bolder harmonies and surprising dissonances. It was all too much at the premiere of Hippoltye et Aricie in 1733. A scandal erupted and soon audiences were divided between fans of Rameau's radical new style and those preferring to return to the old Lully school. Here, with great expression, tenor Mark Padmore, as Hippolyte, sings "Ah! Must I, in a single day, lose all that I love?"

Italian opera seria was always in the Italian language, even when it was composed or performed in other countries such as Germany, Austria, England and Spain. In France the opera seria was not so popular. They had their own forms of opera.

Opera seria was often called dramma per musica ("drama through music"). The story was told in recitative, a quick-flowing music with simple accompaniment. Then there were arias which were the big songs where the singers could show off their skills. They were normally in da capo form (a main section, a middle section, and the main section repeated). The opera would start with an overture and there would also be some ensembles where several characters sang at once.

One of the first composers of opera seria was Alessandro Scarlatti. In England George Frideric Handel wrote many great opera seria. The most important man in the development of mid-18th century opera seria was Metastasio who wrote libretti. His words were set by the greatest composers in Europe: Hasse, Porpora and, especially, Mozart.

In the later part of the 18th century Christoph Willibald Gluck changed a lot of traditions in opera. He did not want opera to be just a way for singers to show off their voices. He wanted the story to be important. He did not use dry recitative but tried to make the drama, dance and music all important, especially the chorus. Orfeo ed Euridice was his first important opera, followed by others such as Alceste.

"This book demonstrates a rich series of approaches to studying Vivaldi and the workings of Venetian opera seria [...] the diversity of this essay collection says almost as many positive things about the current state of research into opera seria as it does about the significance of recovering Motezuma." (Nicholas Lockey, in Early Music Magazine, Summer 2009, p. 49-50)

Michael Talbot, Foreword - Steffen Voss, Antonio Vivaldi's Dramma per Musica Motezuma. Some Observations on Its Libretto and Music - Reinhard Strohm, Vivaldi and his Operas, 1730-34: A Critical Survey - Micky White and Michael Talbot, Pietro Mauro, detto "il Vivaldi": Failed Tenor, Failed Impresario, Failed Husband, Acclaimed Copyist - Jrgen Maehder, Alvise Giusti's Libretto Motezuma and the Conquest of Mexico in Eighteenth-Century Italian Opera Seria - Melania Bucciarelli, Taming the Exotic: Vivaldi's Armida al campo d'Egitto - Kurt Markstrom, The Vivaldi-Vinci Interconnections, 1724-26 and beyond: Implications for the Late Style of Vivaldi - Michael Talbot, Vivaldi's 'Late Style': Final fruition or Terminal Decline? - Frdric Delama, Vivaldi in scena: Thoughts on The Revival of Vivaldi's Operas

Exploring Opera Styles: Opera Seria

for Elementary and Secondary Students

These Common Core-aligned worksheets introduce students to the opera seria genre. Through aural and textual analysis of recitative, aria, and Mozart's The Clemency of Titus, students discuss the style's characteristics and history.

Opera seria was the form of Italian serious opera that held sway from the reforms of the early 18th century for a hundred years. It came to be governed by strict rules as to subject and structure, and underwent reform in the interests of greater realism in the second half of the 18th century with the composer Gluck.

Above are the words made by unscrambling S E R I A (AEIRS).Our unscramble word finder was able to unscramble these letters using various methods to generate 55 words! Having a unscramble tool like ours under your belt will help you in ALL word scramble games!

How is this helpful? Well, it shows you the anagrams of seria scrambled in different ways and helps you recognize the set of letters more easily. It will help you the next time these letters, S E R I A come up in a word scramble game.

Mozart is treasured today for his opera buffa and Singspiel, the foundation of the modern repertory. His serious Italian operas belong to the most abundant operatic genre of the eighteenth century, and share its modern neglect. Yet there is no reason to suppose that Mozart despised the rhetorical grandeur of opera seria, with its cast of tyrants, suffering princesses, courtiers and soldiers, and its plots of treachery overcome and magnanimity in suffering. It played a larger role in his pre-Vienna works than any other type of opera, and was by no means neglected thereafter. Mozart was brought up on opera seria, and an opera seria was his last stage work.

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