Operatic pop

<h2 id="history">History</h2>

According to music historians, operatic pop songs became most prevalent with the rise of <a href="/facts/Tin_Pan_Alley/QbltdLVz">Tin Pan Alley</a> musicians during the early 1900s.<a class="footnote-ref" id="fnref:2" href="#fn:2">2</a> One influence was the large influx of Italian immigrants to the United States who popularized singers such as <a href="/facts/Enrico_Caruso/G0zF7dFx">Enrico Caruso</a> and inspired the creation of "novelty songs" using Italian dialect. The songs often used operatic repertory "to make a satirical or topical point".<a class="footnote-ref" id="fnref:3" href="#fn:3">3</a> Popularized by American <a href="/facts/Vaudeville/b8AD7Rg0">Vaudeville</a>, musical comedies, jazz and operettas, examples include <a href="/facts/Irving_Berlin/YpcSvmam">Irving Berlin</a>'s That Opera Rag, <a href="/facts/Billy_Murray_(singer)/o0jjgyzS">Billy Murray</a>'s My Cousin Caruso and <a href="/facts/Louis_Armstrong/EcRpJ0gw">Louis Armstrong</a>'s riffs on <a href="/facts/Rigoletto/DB1G89nl">Rigoletto</a> and <a href="/facts/Pagliacci/DGFUm4xn">Pagliacci</a>.<a class="footnote-ref" id="fnref:4" href="#fn:4">4</a> The subgenre subsequently dwindled after the 1920s but revived during the <a href="/facts/Rock_music/zBM2guyQ">rock music</a> era with albums such as <a href="/facts/The_Who/Pnc4Rbnd">The Who</a>'s <a href="/facts/Tommy_(The_Who_album)/jU9RAghp">Tommy</a> and <a href="/facts/Queen_(band)/J425pBjw">Queen</a>'s <a href="/facts/A_Night_at_the_Opera_(Queen_album)/I0wjoX8G">A Night at The Opera</a>.<a class="footnote-ref" id="fnref:5" href="#fn:5">5</a>
In 1986, operatic tenor <a href="/facts/Luciano_Pavarotti/bCeeMYph">Luciano Pavarotti</a> had a hit with the <a href="/facts/Lucio_Dalla/od1a3FuY">Lucio Dalla</a> song "<a href="/facts/Caruso_(song)/BhYHdLJk">Caruso</a>", which helped to spark a recent flourishing of operatic pop.<a class="footnote-ref" id="fnref:6" href="#fn:6">6</a> Other singers, including <a href="/facts/Andrea_Bocelli/BAN9kWbg">Andrea Bocelli</a>, <a href="/facts/Josh_Groban/TfGt8K3Q">Josh Groban</a>, and <a href="/facts/Katherine_Jenkins/rgtxgaN4">Katherine Jenkins</a>, also recorded the number.<a class="footnote-ref" id="fnref:7" href="#fn:7">7</a> Bocelli, in particular, soon became a leading representative of the subgenre<a class="footnote-ref" id="fnref:8" href="#fn:8">8</a><a class="footnote-ref" id="fnref:9" href="#fn:9">9</a> while his <a href="/facts/Con_te_partir%C3%B2/qQA9ymI6">famous duet</a> partner, British soprano <a href="/facts/Sarah_Brightman/3S2E2qez">Sarah Brightman</a>, also gravitated considerably towards this combination of opera and pop music.<a class="footnote-ref" id="fnref:10" href="#fn:10">10</a> In the 2000s, singers and singing groups devoted primarily to operatic pop built on this renewed success. Groups like <a href="/facts/Il_Divo/q5RnDUJ9">Il Divo</a> and <a href="/facts/Amici_Forever/KSgEbArN">Amici Forever</a> have achieved popularity with the mix of "contemporary pop with operatic style" characteristic of operatic pop.<a class="footnote-ref" id="fnref:11" href="#fn:11">11</a>

<h2 id="see-also">See also</h2>
<ul>
<li>Opera portal</li><li>Pop music portal</li></ul>
<ul><li><a href="/facts/List_of_operatic_pop_artists/TKuRGecw">List of operatic pop artists</a></li>
<li><a href="/facts/Rock_opera/WeNsmD4W">Rock opera</a> (and Category)</li>
<li><a href="/facts/Crossover_music/SSEseWUw">Crossover music</a></li></ul>

<h2 id="further-reading">Further reading</h2>
<ul><li><a href="/facts/Oliver_Kamm/qk1oDgoL">Kamm, Oliver</a> (November 20, 2004). <a href="https://web.archive.org/web/20170830193735/http://oliverkamm.typepad.com/blog/2004/11/what_ispopera.html">"What is Popera?"</a>. <a href="/facts/Times_Online/5BwkodnX">Times Online</a>. Archived from <a href="http://oliverkamm.typepad.com/blog/2004/11/what_ispopera.html">the original</a> on August 30, 2017. Retrieved April 23, 2020 – via oliverkamm.typepad.com.</li></ul>

<h2 id="references">References</h2>

<ol>
<li id="fn:1">Greenwald, Helen M., ed. (2014). The Oxford Handbook of Opera. Oxford University Press. pp. 674–675. ISBN 9780195335538. Archived from the original on November 17, 2020. Retrieved November 2, 2020. <a href="9780195335538" target="_blank">9780195335538</a> <a href="#fnref:1" class="footnote-back-ref">↩</a></li>
<li id="fn:2">Hamberlin, Larry (January 21, 2011). "Introduction". Tin Pan Opera: Operatic Novelty Songs in the Ragtime Era (1st ed.). Oxford University Press. p. 3. ISBN 9780195338928. Archived from the original on November 22, 2020. Retrieved October 4, 2013. <a href="9780195338928" target="_blank">9780195338928</a> <a href="#fnref:2" class="footnote-back-ref">↩</a></li>
<li id="fn:3">Hamberlin, Larry (January 21, 2011). "Introduction". Tin Pan Opera: Operatic Novelty Songs in the Ragtime Era (1st ed.). Oxford University Press. p. 3. ISBN 9780195338928. Archived from the original on November 22, 2020. Retrieved October 4, 2013. <a href="9780195338928" target="_blank">9780195338928</a> <a href="#fnref:3" class="footnote-back-ref">↩</a></li>
<li id="fn:4">Hamberlin, Larry (January 21, 2011). "Introduction". Tin Pan Opera: Operatic Novelty Songs in the Ragtime Era (1st ed.). Oxford University Press. p. 3. ISBN 9780195338928. Archived from the original on November 22, 2020. Retrieved October 4, 2013. <a href="9780195338928" target="_blank">9780195338928</a> <a href="#fnref:4" class="footnote-back-ref">↩</a></li>
<li id="fn:5">Hamberlin, Larry (January 21, 2011). "Introduction". Tin Pan Opera: Operatic Novelty Songs in the Ragtime Era (1st ed.). Oxford University Press. p. 3. ISBN 9780195338928. Archived from the original on November 22, 2020. Retrieved October 4, 2013. <a href="9780195338928" target="_blank">9780195338928</a> <a href="#fnref:5" class="footnote-back-ref">↩</a></li>
<li id="fn:6">Autunnali, Melisanda Massei (2011). Caruso: Lucio Dalla e Sorrento, il rock e i tenori (in Italian). Rome: Donzelli. pp. 4–5, 137. ISBN 978-8860365637. <a href="978-8860365637" target="_blank">978-8860365637</a> <a href="#fnref:6" class="footnote-back-ref">↩</a></li>
<li id="fn:7">Autunnali, Melisanda Massei (2011). Caruso: Lucio Dalla e Sorrento, il rock e i tenori (in Italian). Rome: Donzelli. pp. 4–5, 137. ISBN 978-8860365637. <a href="978-8860365637" target="_blank">978-8860365637</a> <a href="#fnref:7" class="footnote-back-ref">↩</a></li>
<li id="fn:8">Autunnali, Melisanda Massei (2011). Caruso: Lucio Dalla e Sorrento, il rock e i tenori (in Italian). Rome: Donzelli. pp. 4–5, 137. ISBN 978-8860365637. <a href="978-8860365637" target="_blank">978-8860365637</a> <a href="#fnref:8" class="footnote-back-ref">↩</a></li>
<li id="fn:9">"The king of popera". The Sydney Morning Herald. August 28, 2004. Archived from the original on March 4, 2016. <a href="https://web.archive.org/web/20160304095138/http://www.smh.com.au/articles/2004/08/27/1093518069667.html" target="_blank">https://web.archive.org/web/20160304095138/http://www.smh.com.au/articles/2004/08/27/1093518069667.html</a> <a href="#fnref:9" class="footnote-back-ref">↩</a></li>
<li id="fn:10">"Sarah Brightman Tickets". StubHub. Retrieved December 1, 2020.[better source needed][failed verification] <a href="https://www.stubhub.co.uk/sarah-brightman-tickets/performer/205/" target="_blank">https://www.stubhub.co.uk/sarah-brightman-tickets/performer/205/</a> <a href="#fnref:10" class="footnote-back-ref">↩</a></li>
<li id="fn:11">Danesi, Marcel (2013). The history of the kiss!: the birth of popular culture. Basingstoke: Palgrave Macmillan. p. 111. ISBN 978-1137376855. Archived from the original on November 17, 2020. Retrieved November 2, 2020. <a href="978-1137376855" target="_blank">978-1137376855</a> <a href="#fnref:11" class="footnote-back-ref">↩</a></li>
</ol>

Operatic pop open-in-new

Operatic pop