NOBLE SIMPLICITY
The comédie larmoyante was only one of many new departures in theater and theatrical music that burgeoned shortly after the middle of the eighteenth century. Another came to a head in an opera—ostensibly, an opera seria—that had its première performance in Vienna two years later than La buona figliuola, and is remembered today as the very model of “reform” opera, thanks to a deliberate propaganda campaign mounted on its behalf by the composer, the librettist, and their allies in the press. Although in many ways almost diametrically opposed to the style and the attitudes of Piccinni’s masterpiece of sentimental comedy, it embodied a similar infusion of what was known as “sensibility.” It too was in its way a quest for the “natural” and the “authentic.”
- Citation (MLA):
- Richard Taruskin. "Chapter 9 Enlightenment and Reform." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 12 Oct. 2024. <https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-09002.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 9 Enlightenment and Reform. In Oxford University Press, Music In The Seventeenth And Eighteenth Centuries. New York, USA. Retrieved 12 Oct. 2024, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-09002.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 9 Enlightenment and Reform." In Music In The Seventeenth And Eighteenth Centuries, Oxford University Press. (New York, USA, n.d.). Retrieved 12 Oct. 2024, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-09002.xml
