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Opera buffa
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<p>Opera buffa (Italian: [ˈɔːpera ˈbuffa], "comic opera"; pl.: <i>opere buffe</i>) is a genre of <a href="/facts/Opera/eLeXDdsP">opera</a>. It was first used as an informal description of Italian <a href="/facts/Comic_opera/eBgMrPEo">comic operas</a> variously classified by their authors as <i>commedia in musica</i>, <i>commedia per musica</i>, <i>dramma bernesco</i>, <i>dramma comico</i>, <i>divertimento giocoso</i>. </p><p>Especially associated with developments in <a href="/facts/Naples/SXrFcg2C">Naples</a> in the first half of the 18th century, whence its popularity spread to <a href="/facts/Rome/bh1Ttx3T">Rome</a> and <a href="/facts/Northern_Italy/paEuCnnf">northern Italy</a>, <i>buffa</i> was at first characterized by everyday settings, local dialects, and simple vocal writing (the <a href="/facts/Basso_buffo/gmdDI2wM">basso buffo</a> is the associated voice type), the main requirement being clear diction and facility with <a href="/facts/Patter_song/E87PNu8G">patter</a>. </p><p><i><a href="/facts/The_New_Grove_Dictionary_of_Opera/UByexklU">The New Grove Dictionary of Opera</a></i> considers <i>La Cilla</i> (music by <a href="/facts/Michelangelo_Faggioli/pdRU9P2L">Michelangelo Faggioli</a>, text by Francesco Antonio Tullio [it], 1706) and <a href="/facts/Luigi_Ricci_(composer)/6dK2VUsc">Luigi</a> and <a href="/facts/Federico_Ricci/5hw07xEG">Federico Ricci</a>'s<i> <a href="/facts/Crispino_e_la_comare/bzVmcwDL">Crispino e la comare</a></i> (1850) to be the first and last appearances of the genre, although the term is still occasionally applied to newer work (for example <a href="/facts/Ernst_Krenek/gXcFNAyf">Ernst Krenek</a>'s <i><a href="/facts/Zeitoper/lQvU8BVg">Zeitoper</a></i> <i><a href="/facts/Schwergewicht/8aTDG2Qf">Schwergewicht</a></i>). High points in this history are the 80 or so libretti by Carlindo Grolo, Loran Glodici, Sogol Cardoni and various other approximate <a href="/facts/Anagram/T8L7yImr">anagrams</a> of <a href="/facts/Carlo_Goldoni/EGToTIjC">Carlo Goldoni</a>, the three <a href="/facts/Wolfgang_Amadeus_Mozart/2X5fm67T">Mozart</a>/<a href="/facts/Lorenzo_Da_Ponte/3864BgYf">Da Ponte</a> collaborations, and the comedies of <a href="/facts/Gioachino_Rossini/sVKQoHhR">Gioachino Rossini</a> and <a href="/facts/Gaetano_Donizetti/syovQv4D">Gaetano Donizetti</a>. </p><p>Similar foreign genres such as French <i><a href="/facts/Op%25C3%25A9ra_comique/mKGey8of">opéra comique</a></i>, English <i><a href="/facts/Ballad_opera/SAb1SnaH">ballad opera</a></i>, Spanish <i><a href="/facts/Zarzuela/hUIsUfNJ">zarzuela</a></i> or German <i><a href="/facts/Singspiel/DAuy8dt7">Singspiel</a></i> differed as well in having spoken dialogue in place of <i><a href="/facts/Recitativo/I17AlSIe">recitativo</a> secco</i>, although one of the most influential examples, <a href="/facts/Giovanni_Battista_Pergolesi/eJXlHemm">Pergolesi</a>'s <i><a href="/facts/La_serva_padrona/mFcXq4zx">La serva padrona</a></i> (which is an <a href="/facts/Intermezzo/LIk62MPz">intermezzo</a>, not opera buffa), sparked the <i><a href="/facts/Querelle_des_bouffons/JqCPxRvt">querelle des bouffons</a></i> in Paris as an adaptation without sung <a href="/facts/Recitative/I17AlSIe">recitatives</a>. </p>