In act 2, scene 13, the aria 'Thus when the swallow, seeking prey' is specified as to the tune of 'All in the Downs', and Sandoni's tune is printed in all editions of the ballad opera
. Yet other ballad operas
from around this time, such as Charles Johnson's The Village Opera (1729), also have arias sung to the tune of All in the Downs', but print Leveridge's tune.
Rather, in putting new lyrical wine into old musical bottles, he was simply following in the well-worn footsteps of the broadside ballad, the culturally vital tradition from which John Gay created the ballad opera
. Indeed, in Pat Rogers's words, the defining characteristic of that dramatic genre was "the fitting of new words to existing music" (1979: 46).
Mangangsana, Director of the Manipuri Ballad Opera
Seventeenth century ballad operas
took the idea of grand Italian opera but made them accessible to ordinary folk by setting the lyrics to popular broadsheet ballads, opera arias, church hymns and folk tunes of the day.
Sobretudo no seculo XVIII, surgem, como alternativa a opera, uma serie de tradicoes autoctones de teatro musicado: a zarzuela em Espanha, a opera comique em Franca, a ballad opera
em Inglaterra, o Singspiel na Alemanha.
He lost the mechanicals, cut Act Five and added quite as many songs as are contained in any ballad opera
. Garrick's prologue to his own rewrite contains this couplet: I dare not say WHO wrote it--I could tell ye To soften matter--Signor Shakespearelli.
The opera is referred to as a ballad opera
mainly because there is spoken dialogue and it follows after the pattern of the The Beggar's Opera, the English 18th Century ballad opera
The following season (1907-08) they presented The Waterman, a ballad opera
by Charles Dibdin, then in vogue but now almost forgotten, followed by HMS Pinafore, an early Gilbert and Sullivan success.
I AGREED with Heather Greenaway's opinion of ballad opera
When They Lay Bare.
This latest introduction stresses the gradual integration of the afterpiece into the evening's entertainment, the development of ballad opera
and the continuing competition with Italian opera, the decline in political and sexual subject-matter, and the introverted concentration, in prologues, on issues of dramatic theory.
The development of the latter category as 'Georgian' reformulations, which aimed to inspire clean-living youths with notions of comradeship and national fervour, is very much a matter of living memory: Michael Tippett, no less, wrote a ballad opera
of Robin Hood in 1933.
If there is a thematic thread running through Dizikes's historical tapestry, it is that of a dialectic between the high-class character of opera and "the democratic culture of the United States." This issue emerges, for example, in the question of the definition of "opera" itself, more precisely, of the relation to the central cases of opera--the Italian seria and buffa tradition, French grand opera and Wagnerian music drama--with a multitude of forms like ballad opera
, operetta, minstrel show and musical comedy.