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A) ancient Greek myths and legends.
B) patriotic themes.
C) Germanic myths and legends.
D) the Bible.
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A) La traviata and Otello.
B) Falstaff and Il trovatore.
C) Rigoletto and Otello.
D) Otello and Falstaff.
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A) floating, fantasy
B) dramatic, emphatic
C) gloomy, sad
D) jaunty, pompous
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A) aria.
B) recitative.
C) arioso.
D) duet.
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A) Richard Wagner
B) Giuseppe Verdi
C) Giacomo Puccini
D) Gioacchino Rossini
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A) aria and recitative
B) predominance of the orchestra and bel canto style
C) the concept of Gesamtkunstwerk and the technique of leitmotiv
D) the use of leitmotiv and idée fixe
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A) The Barber of Seville
B) Norma
C) Lucia di Lammermoor
D) Rigoletto
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A) two vocal soloists and the full orchestra.
B) two vocal soloists.
C) two vocal soloists, a chorus, and the string and woodwind sections of the orchestra.
D) three vocal soloists, a chorus, and the full orchestra.
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A) Tristan und Isolde.
B) Otello.
C) Don Pasquale.
D) Der Freischütz (The Magic Bullet) .
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A) Richard Wagner
B) Giuseppe Verdi
C) Giacomo Puccini
D) Carl Maria von Weber
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A) Gesamtkunstwerk
B) bel canto
C) music drama
D) leitmotiv
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A) strophic
B) through-composed
C) A B A
D) rondo
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A) Spain.
B) Rome.
C) Italy.
D) Japan.
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A) Wolfgang Amadeus Mozart
B) Giacomo Puccini
C) Giuseppe Verdi
D) Richard Wagner
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A) a baritone voice
B) the low strings
C) the low brasses
D) the timpani
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Multiple Choice
A) Many Romantic operas transcend artistic barriers.
B) The Romantic era was a golden age of opera.
C) Romantic opera flourished only in Germany and Italy.
D) Romantic composers came to view opera as a type of serious drama in music, not just a vehicle for song, spectacle, and entertainment.
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A) round.
B) aria.
C) recitative.
D) arioso.
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