A revival of interest in opera of Italian verism can be found worldwide nowadays. Alongside with the classic veristic operas - Mascagni's 'Cavalleria rusticana' and Leoncavallo's 'Pagliacci', postulates of verism within a sense of a true reflection of the vivid reality are the best satisfied in two opera transcriptions of Murger's 'Scenes de la Vie de Boheme' (by Puccini and Leoncavallo) which in all its difference are symbolizing a flush of living full of freedom, love and youth, and which are except of a love life reflecting also an everyday reality. They are similarly like other veristic operas bringing an increase of opera performance effect. In the music area they are rising the meaning of an orchestra, in more detail are characterizing the story scene, creating a conversation style and prefering an extrovert expressive singing. With regard to music, the verists were influenced both by Wagner and by French opera (Massenet), and with the exception of Puccini and Mascagni, in the course of their lives their composer's autograph did not progress very much. The outermost poles of verism are represented by Cilea's 'Adriana le Couvrer' and Montemezzi's 'L'amore dei tre re'. The prime position in popularisation of verism in Slovakia is played by Banska Bystrica Opera.
The two most noteworthy operas of non-Italian verism, d'Albert's 'The Lowlands' and Charpentier's 'Louise', are connected with the portrayal of two different types of morality. In case of the German opera, the virtuous mountains stand in contrast with the decadent lowland, while in the second opera, the Paris metropolis epitomises moral falls and the morality of a proletarian-petty bourgeois family stands in sharp contrast with the bohemian Paris. While the signature of the first work is a blend of veristic poetics and Wagner‘s postulates, the French composer was influenced even by a broader range of influences. Both these pieces have been staged only rarely in Slovakia and with controversial reviews. Contemporary internationally acclaimed theatres (in Barcelona and Paris) are keen to breathe new life in these operas.
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