Social Context
With a few exceptions, opera seria was the opera of the court, of the monarchy and the nobility. This is not a universal picture: Handel in London composed not for the court but for a much more socially diverse audience, and in the Venetian republic composers modified their operas to suit the public taste and not that of the court. But for the most part, opera seria was synonymous with court opera. This brought with it a number of conditions: the court, and particularly the monarch, required that their own nobility be reflected on the stage. Opera seria plot-lines are heavily shaped by this criterion: Il re pastore displays the glory of Alexander the Great, while La clemenza di Tito does the same for the Roman emperor Titus. The potentate in the audience would watch his counterparts from the ancient world and see their benevolent autocracy redound to his own credit.
Many aspects of the staging contributed to this effect: both the auditorium and stage were lit during performances, while the sets mirrored almost exactly the architecture of the palace hosting the opera. Sometimes the links between opera and audience were even closer: Gluck's serenata Il Parnasso Confuso was first performed at Vienna with a cast consisting of members of the royal family. However, with the French Revolution came serious political upheavals across Italy, and as new, more egalitarian republics were established and old autocracies fell away, the Arcadian ideals of opera seria seemed increasingly irrelevant. Rulers were no longer free from violent deaths, and under new social ideals the hierarchy of singers broke down. Such significant socio-political change meant that opera seria, so closely allied to the ruling class, was finished.
Read more about this topic: Opera Seria
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