. . . . . . . . . "\uB3C5\uC77C \uC624\uD398\uB77C\uB294 \uB3C5\uC77C\uC5B4\uB97C \uC0AC\uC6A9\uD558\uB294 \uAD6D\uAC00\uC5D0\uC11C \uB9CC\uB4E4\uC5B4\uC9C4 \uC624\uD398\uB77C\uB85C, \uC5ED\uC0AC\uC801\uC73C\uB85C \uC5F0\uBC29 \uB3C5\uC77C\uACFC \uC624\uC2A4\uD2B8\uB9AC\uC544\uC758 \uC624\uD398\uB77C\uB97C \uB9D0\uD55C\uB2E4."@ko . "\uB3C5\uC77C \uC624\uD398\uB77C\uB294 \uB3C5\uC77C\uC5B4\uB97C \uC0AC\uC6A9\uD558\uB294 \uAD6D\uAC00\uC5D0\uC11C \uB9CC\uB4E4\uC5B4\uC9C4 \uC624\uD398\uB77C\uB85C, \uC5ED\uC0AC\uC801\uC73C\uB85C \uC5F0\uBC29 \uB3C5\uC77C\uACFC \uC624\uC2A4\uD2B8\uB9AC\uC544\uC758 \uC624\uD398\uB77C\uB97C \uB9D0\uD55C\uB2E4."@ko . "\u041D\u0435\u043C\u0435\u0446\u043A\u0430\u044F \u043E\u043F\u0435\u0440\u0430 \u043E\u0442\u0441\u0447\u0438\u0442\u044B\u0432\u0430\u0435\u0442 \u0441\u0432\u043E\u044E \u0438\u0441\u0442\u043E\u0440\u0438\u044E \u0441 \u043F\u0435\u0440\u0432\u043E\u0439 \u0442\u0440\u0435\u0442\u0438 XVII \u0432\u0435\u043A\u0430. \u0421\u0440\u0435\u0434\u0438 \u0435\u0451 \u043F\u0440\u0435\u0434\u0441\u0442\u0430\u0432\u0438\u0442\u0435\u043B\u0435\u0439 \u2014 \u0442\u0430\u043A\u0438\u0435 \u043A\u043E\u043C\u043F\u043E\u0437\u0438\u0442\u043E\u0440\u044B, \u043A\u0430\u043A \u0412\u043E\u043B\u044C\u0444\u0433\u0430\u043D\u0433 \u0410\u043C\u0430\u0434\u0435\u0439 \u041C\u043E\u0446\u0430\u0440\u0442, \u041B\u044E\u0434\u0432\u0438\u0433 \u0432\u0430\u043D \u0411\u0435\u0442\u0445\u043E\u0432\u0435\u043D, \u0420\u0438\u0445\u0430\u0440\u0434 \u0412\u0430\u0433\u043D\u0435\u0440, \u0420\u0438\u0445\u0430\u0440\u0434 \u0428\u0442\u0440\u0430\u0443\u0441 \u0438 \u043C\u043D\u043E\u0433\u0438\u0435 \u0434\u0440\u0443\u0433\u0438\u0435."@ru . . . . . . . . . . . . . . . . . "1053296750"^^ . . . . . . . . "Opera in German"@en . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "\u00D3pera alemana"@es . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "N\u011Bmeck\u00E1 opera"@cs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "\u041D\u0435\u043C\u0435\u0446\u043A\u0430\u044F \u043E\u043F\u0435\u0440\u0430 \u043E\u0442\u0441\u0447\u0438\u0442\u044B\u0432\u0430\u0435\u0442 \u0441\u0432\u043E\u044E \u0438\u0441\u0442\u043E\u0440\u0438\u044E \u0441 \u043F\u0435\u0440\u0432\u043E\u0439 \u0442\u0440\u0435\u0442\u0438 XVII \u0432\u0435\u043A\u0430. \u0421\u0440\u0435\u0434\u0438 \u0435\u0451 \u043F\u0440\u0435\u0434\u0441\u0442\u0430\u0432\u0438\u0442\u0435\u043B\u0435\u0439 \u2014 \u0442\u0430\u043A\u0438\u0435 \u043A\u043E\u043C\u043F\u043E\u0437\u0438\u0442\u043E\u0440\u044B, \u043A\u0430\u043A \u0412\u043E\u043B\u044C\u0444\u0433\u0430\u043D\u0433 \u0410\u043C\u0430\u0434\u0435\u0439 \u041C\u043E\u0446\u0430\u0440\u0442, \u041B\u044E\u0434\u0432\u0438\u0433 \u0432\u0430\u043D \u0411\u0435\u0442\u0445\u043E\u0432\u0435\u043D, \u0420\u0438\u0445\u0430\u0440\u0434 \u0412\u0430\u0433\u043D\u0435\u0440, \u0420\u0438\u0445\u0430\u0440\u0434 \u0428\u0442\u0440\u0430\u0443\u0441 \u0438 \u043C\u043D\u043E\u0433\u0438\u0435 \u0434\u0440\u0443\u0433\u0438\u0435."@ru . . . . . "\u041E\u043F\u0435\u0440\u0430 \u0432 \u0413\u0435\u0440\u043C\u0430\u043D\u0438\u0438 \u0438 \u0410\u0432\u0441\u0442\u0440\u0438\u0438"@ru . . . . . . . . . . . . . . . . . . . . . "\uB3C5\uC77C \uC624\uD398\uB77C"@ko . "34784"^^ . . . . . . . . . . . . . "Opera in German is that of the German-speaking countries, which include Germany, Austria, and the historic German states that pre-date those countries. German-language opera appeared remarkably quickly after the birth of opera itself in Italy. The first Italian opera was Jacopo Peri's Dafne of 1598. In 1627, Heinrich Sch\u00FCtz provided the music for a German translation of the same libretto. Yet during much of the 17th and 18th centuries German-language opera would struggle to emerge from the shadow of its Italian-language rival, with leading German-born composers such as Handel and Gluck opting to work in foreign traditions such as opera seria. Some Baroque composers, such as Reinhard Keiser, did try to challenge Italian dominance, and the theatre principal Abel Seyler became an eager promoter of German opera in the 1770s, but it was only with the appearance of Mozart that a lasting tradition of serious German-language opera was established. Mozart took the simple, popular genre of Singspiel and turned it into something far more sophisticated. Beethoven followed his example with the idealistic Fidelio; and with Der Freisch\u00FCtz of 1821, Weber established a uniquely German form of opera under the influence of Romanticism. Weber's innovations were eclipsed by those of Wagner, one of the most revolutionary and controversial figures in musical history. Wagner strove to achieve his ideal of opera as \"music drama\", eliminating all distinction between aria and recitative, employing a complex web of leitmotifs and vastly increasing the power and richness of the orchestra. Wagner also drew on Germanic mythology in his huge operatic cycle Der Ring des Nibelungen. After Wagner, opera could never be the same again, so great was his influence. The most successful of his followers was Richard Strauss. Opera flourished in German-speaking lands in the early 20th century in the hands of figures such as Hindemith, Busoni and Weill until Adolf Hitler's seizure of power forced many composers into silence or exile. After World War II young opera writers were inspired by the example of Schoenberg and Berg who had pioneered modernist techniques such as atonality and serialism in the earlier decades of the century. Composers at work in the field of opera today include Hans Werner Henze. As the names of Mozart, Weber, Wagner, Richard Strauss and Berg indicate, Germany and Austria have one of the strongest operatic traditions in European culture. This is also evidenced by the large number of opera houses, particularly in Germany where almost every major city has its own theatre for staging such works, as well as internationally renowned operatic events such as the Salzburg Festival."@en . . "Se denomina \u00AB\u00F3pera alemana\u00BB al desarrollo oper\u00EDstico de los pa\u00EDses germanoparlantes, principalmente Alemania (o los estados hist\u00F3ricos que actualmente conforman la Rep\u00FAblica Federal Alemana) y Austria. En este art\u00EDculo se mencionan brevemente los trabajos de compositores alemanes o austr\u00EDacos que han sido escritos en otras lenguas. La misma expresi\u00F3n se utiliza tambi\u00E9n para designar el conjunto de obras escritas en lengua alemana, incluyendo obras escritas por compositores no nativos."@es . . . . . . . . . . . . . . . . . . . . . . . . . "542026"^^ . . . "Se denomina \u00AB\u00F3pera alemana\u00BB al desarrollo oper\u00EDstico de los pa\u00EDses germanoparlantes, principalmente Alemania (o los estados hist\u00F3ricos que actualmente conforman la Rep\u00FAblica Federal Alemana) y Austria. En este art\u00EDculo se mencionan brevemente los trabajos de compositores alemanes o austr\u00EDacos que han sido escritos en otras lenguas. La misma expresi\u00F3n se utiliza tambi\u00E9n para designar el conjunto de obras escritas en lengua alemana, incluyendo obras escritas por compositores no nativos. Tal como indican los nombres de Mozart, Weber, Wagner, Richard Strauss y Berg, Alemania y Austria poseen una de las tradiciones oper\u00EDsticas m\u00E1s fuertes en la cultura europea. Esto se evidencia tambi\u00E9n en la gran cantidad de teatros de \u00F3pera (principalmente en Alemania, donde al menos todas las ciudades importantes tienen su propio teatro), as\u00ED como tambi\u00E9n en los numerosos festivales oper\u00EDsticos tan renombrados mundialmente, por ejemplo, el Festival de Salzburgo."@es . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Opera in German is that of the German-speaking countries, which include Germany, Austria, and the historic German states that pre-date those countries. German-language opera appeared remarkably quickly after the birth of opera itself in Italy. The first Italian opera was Jacopo Peri's Dafne of 1598. In 1627, Heinrich Sch\u00FCtz provided the music for a German translation of the same libretto. Yet during much of the 17th and 18th centuries German-language opera would struggle to emerge from the shadow of its Italian-language rival, with leading German-born composers such as Handel and Gluck opting to work in foreign traditions such as opera seria."@en . . . . . . . . . . . . . . . . . . .

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