. . . . . . . . "\u00D2pera c\u00F2mica"@ca . . . . . "Ceoldr\u00E1ma \u00E9adrom greannmhar, go pr\u00EDomha na cine\u00E1lacha cos\u00FAil le ceoldr\u00E1ma\u00ED Gilbert is Sullivan ina malarta\u00EDonn amhr\u00E1in is ceol le comhr\u00E1 labhartha. Is \u00E9 an ceolsiamsa a choibh\u00E9is nua-aoiseach."@ga . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Comic opera, sometimes known as light opera, is a sung dramatic work of a light or comic nature, usually with a happy ending and often including spoken dialogue. Forms of comic opera first developed in late 17th-century Italy. By the 1730s, a new operatic genre, opera buffa, emerged as an alternative to opera seria. It quickly made its way to France, where it became op\u00E9ra comique, and eventually, in the following century, French operetta, with Jacques Offenbach as its most accomplished practitioner. The influence of the Italian and French forms spread to other parts of Europe. Many countries developed their own genres of comic opera, incorporating the Italian and French models along with their own musical traditions. Examples include German singspiel, Viennese operetta, Spanish zarzuela, Russian comic opera, English ballad and Savoy opera, North American operetta and musical comedy."@en . . . . . . . . . . . . "Comic opera"@en . . . . . . . . . . . . . . . . "Ceoldr\u00E1ma grinn"@ga . . . . . . . . . "690708"^^ . . "L'\u00F2pera c\u00F2mica \u00E9s un tipus d'\u00F2pera amb una m\u00FAsica m\u00E9s lleugera i amb un text majorit\u00E0riament m\u00E9s intranscendent, popular o c\u00F2mic que els de l'\u00F2pera seriosa: \n* A Fran\u00E7a se la denomin\u00E0 Op\u00E9ra-comique i es representava entre altres al Teatre Nacional de l'Op\u00E9ra-Comique de Par\u00EDs. No s'ha de confondre amb l'op\u00E9ra bouffe, molt propera a l'opereta, que es va representar sobretot al Th\u00E9\u00E2tre des Bouffes-Parisiens; \n* A It\u00E0lia s'anomen\u00E0 opera buffa a un g\u00E8nere d'\u00F2pera que es desenvolup\u00E0 a N\u00E0pols a la primera part del segle XVIII; \n* A Alemanya tamb\u00E9 aparegu\u00E9 un tipus d'\u00F2pera c\u00F2mica: el singspiel; \n* A Anglaterra hi hagu\u00E9 la , conreada per autors com William Shield i Arthur Sullivan; \n* A Castella i als Pa\u00EFsos Catalans la sarsuela i la tonadilla s\u00F3n g\u00E8neres que s'hi poden assimilar."@ca . . . . . . . . . . . . . "O termo \u00F3pera c\u00F3mica tem v\u00E1rios significados: \n* A op\u00E9ra-comique, g\u00E9nero l\u00EDrico franc\u00EAs surgido no s\u00E9culo XVIII; \n* O Teatro Nacional da Op\u00E9ra-Comique, teatro parisiense dedicado ao g\u00E9nero da \u00F3pera c\u00F3mica; \n* A opera buffa, surgida em N\u00E1poles no s\u00E9culo XVIII; \n* Na Alemanha, surge um tipo de \u00F3pera c\u00F3mica denominado singspiel; \n* Na Inglaterra n\u00E3o recebeu denomina\u00E7\u00E3o especial, mas foram cultivados g\u00E9neros semelhantes sob o nome de e Savoy Opera por autores como e Arthur Sullivan; \n* Em Espanha, a zarzuela e a s\u00E3o g\u00E9neros que se lhe podem assemelhar; \n* Em sentido amplo, a opereta, teatro musical sat\u00EDrico de grande \u00EAxito na Europa (especialmente na \u00C1ustria-Hungria e Fran\u00E7a) no s\u00E9culo XIX."@pt . . . . . "\u041A\u043E\u043C\u0438\u0447\u0435\u0441\u043A\u0430\u044F \u043E\u043F\u0435\u0440\u0430 \u2014 \u043E\u043F\u0435\u0440\u0430 \u043A\u043E\u043C\u0435\u0434\u0438\u0439\u043D\u043E\u0433\u043E \u0441\u043E\u0434\u0435\u0440\u0436\u0430\u043D\u0438\u044F. \u0422\u0430\u043A\u0436\u0435 \u0442\u0435\u0440\u043C\u0438\u043D\u043E\u043C \u00AB\u043E\u043F\u0435\u0440\u0430 \u043A\u043E\u043C\u0438\u043A\u00BB (\u0444\u0440. op\u00E9ra comique) \u043E\u043F\u0440\u0435\u0434\u0435\u043B\u044F\u044E\u0442 \u0438\u043C\u0435\u043D\u043D\u043E \u0444\u0440\u0430\u043D\u0446\u0443\u0437\u0441\u043A\u0438\u0435 \u043E\u043F\u0435\u0440\u044B, \u0438\u043C\u0435\u044E\u0449\u0438\u0435 \u043A\u043E\u043C\u0438\u0447\u0435\u0441\u043A\u0443\u044E \u0436\u0430\u043D\u0440\u043E\u0432\u0443\u044E \u043E\u043A\u0440\u0430\u0441\u043A\u0443. \u041E\u0441\u043D\u043E\u0432\u043D\u044B\u0435 \u043E\u0441\u043E\u0431\u0435\u043D\u043D\u043E\u0441\u0442\u0438 \u043A\u043E\u043C\u0438\u0447\u0435\u0441\u043A\u043E\u0433\u043E \u043E\u043F\u0435\u0440\u043D\u043E\u0433\u043E \u0436\u0430\u043D\u0440\u0430: \u0440\u0430\u0437\u0433\u043E\u0432\u043E\u0440\u043D\u044B\u0435 \u0434\u0438\u0430\u043B\u043E\u0433\u0438, \u0440\u0435\u0447\u0438\u0442\u0430\u0442\u0438\u0432\u044B, \u0430\u0440\u0438\u043E\u0437\u043D\u043E\u0441\u0442\u044C \u0438 \u0434\u0438\u043D\u0430\u043C\u0438\u0447\u043D\u044B\u0435 \u0430\u043D\u0441\u0430\u043C\u0431\u043B\u0438, \u0431\u043B\u0438\u0437\u043E\u0441\u0442\u044C \u043A \u043A\u043E\u043B\u043E\u0440\u0438\u0442\u043D\u043E\u043C\u0443 \u043D\u0430\u0440\u043E\u0434\u043D\u043E\u043C\u0443 \u0442\u0435\u043C\u0430\u0442\u0438\u0437\u043C\u0443, \u0431\u043E\u043B\u0435\u0435 \u0434\u0435\u0442\u0430\u043B\u044C\u043D\u044B\u0435, \u0447\u0435\u043C \u043D\u0430 \u0440\u0430\u043D\u043D\u0438\u0445 \u044D\u0442\u0430\u043F\u0430\u0445 \u0441\u0442\u0430\u043D\u043E\u0432\u043B\u0435\u043D\u0438\u044F \u0436\u0430\u043D\u0440\u0430, \u0445\u0430\u0440\u0430\u043A\u0442\u0435\u0440\u0438\u0441\u0442\u0438\u043A\u0438 \u043F\u0435\u0440\u0441\u043E\u043D\u0430\u0436\u0435\u0439."@ru . . . . . . . . . . "Ceoldr\u00E1ma \u00E9adrom greannmhar, go pr\u00EDomha na cine\u00E1lacha cos\u00FAil le ceoldr\u00E1ma\u00ED Gilbert is Sullivan ina malarta\u00EDonn amhr\u00E1in is ceol le comhr\u00E1 labhartha. Is \u00E9 an ceolsiamsa a choibh\u00E9is nua-aoiseach."@ga . . . . . "22032"^^ . . . "O termo \u00F3pera c\u00F3mica tem v\u00E1rios significados: \n* A op\u00E9ra-comique, g\u00E9nero l\u00EDrico franc\u00EAs surgido no s\u00E9culo XVIII; \n* O Teatro Nacional da Op\u00E9ra-Comique, teatro parisiense dedicado ao g\u00E9nero da \u00F3pera c\u00F3mica; \n* A opera buffa, surgida em N\u00E1poles no s\u00E9culo XVIII; \n* Na Alemanha, surge um tipo de \u00F3pera c\u00F3mica denominado singspiel; \n* Na Inglaterra n\u00E3o recebeu denomina\u00E7\u00E3o especial, mas foram cultivados g\u00E9neros semelhantes sob o nome de e Savoy Opera por autores como e Arthur Sullivan; \n* Em Espanha, a zarzuela e a s\u00E3o g\u00E9neros que se lhe podem assemelhar; \n* Em sentido amplo, a opereta, teatro musical sat\u00EDrico de grande \u00EAxito na Europa (especialmente na \u00C1ustria-Hungria e Fran\u00E7a) no s\u00E9culo XIX."@pt . . . . . "Con il termine opera comica si intende un genere operistico in forma di commedia per musica, nato nel XVII secolo. Tale genere vede protagonisti personaggi di medio e basso rango che agiscono in un contesto pi\u00F9 o meno contemporaneo a quello del pubblico, diversamente dal dramma per musica che porta in scena storie e personaggi tratti dalla mitologia, dall'epica cavalleresca e dalla storia antica o medievale. Le trame dell'opera comica sono di solito basate su intrighi amorosi, di tono sentimentale, avventuroso o comico (\"ridicoloso\"). Nell'opera comica la scenografia \u00E8 ridotta all'essenziale. A differenza del dramma per musica, infatti, non erano previsti complessi macchinari per le mutazioni di scena, n\u00E9 lussuosi costumi, n\u00E9 azioni coreutiche. Nella prima met\u00E0 del XVIII secolo in Italia l"@it . . . "Opera comica"@it . . "\u041A\u043E\u043C\u0438\u0447\u0435\u0441\u043A\u0430\u044F \u043E\u043F\u0435\u0440\u0430 \u2014 \u043E\u043F\u0435\u0440\u0430 \u043A\u043E\u043C\u0435\u0434\u0438\u0439\u043D\u043E\u0433\u043E \u0441\u043E\u0434\u0435\u0440\u0436\u0430\u043D\u0438\u044F. \u0422\u0430\u043A\u0436\u0435 \u0442\u0435\u0440\u043C\u0438\u043D\u043E\u043C \u00AB\u043E\u043F\u0435\u0440\u0430 \u043A\u043E\u043C\u0438\u043A\u00BB (\u0444\u0440. op\u00E9ra comique) \u043E\u043F\u0440\u0435\u0434\u0435\u043B\u044F\u044E\u0442 \u0438\u043C\u0435\u043D\u043D\u043E \u0444\u0440\u0430\u043D\u0446\u0443\u0437\u0441\u043A\u0438\u0435 \u043E\u043F\u0435\u0440\u044B, \u0438\u043C\u0435\u044E\u0449\u0438\u0435 \u043A\u043E\u043C\u0438\u0447\u0435\u0441\u043A\u0443\u044E \u0436\u0430\u043D\u0440\u043E\u0432\u0443\u044E \u043E\u043A\u0440\u0430\u0441\u043A\u0443. \u041E\u0441\u043D\u043E\u0432\u043D\u044B\u0435 \u043E\u0441\u043E\u0431\u0435\u043D\u043D\u043E\u0441\u0442\u0438 \u043A\u043E\u043C\u0438\u0447\u0435\u0441\u043A\u043E\u0433\u043E \u043E\u043F\u0435\u0440\u043D\u043E\u0433\u043E \u0436\u0430\u043D\u0440\u0430: \u0440\u0430\u0437\u0433\u043E\u0432\u043E\u0440\u043D\u044B\u0435 \u0434\u0438\u0430\u043B\u043E\u0433\u0438, \u0440\u0435\u0447\u0438\u0442\u0430\u0442\u0438\u0432\u044B, \u0430\u0440\u0438\u043E\u0437\u043D\u043E\u0441\u0442\u044C \u0438 \u0434\u0438\u043D\u0430\u043C\u0438\u0447\u043D\u044B\u0435 \u0430\u043D\u0441\u0430\u043C\u0431\u043B\u0438, \u0431\u043B\u0438\u0437\u043E\u0441\u0442\u044C \u043A \u043A\u043E\u043B\u043E\u0440\u0438\u0442\u043D\u043E\u043C\u0443 \u043D\u0430\u0440\u043E\u0434\u043D\u043E\u043C\u0443 \u0442\u0435\u043C\u0430\u0442\u0438\u0437\u043C\u0443, \u0431\u043E\u043B\u0435\u0435 \u0434\u0435\u0442\u0430\u043B\u044C\u043D\u044B\u0435, \u0447\u0435\u043C \u043D\u0430 \u0440\u0430\u043D\u043D\u0438\u0445 \u044D\u0442\u0430\u043F\u0430\u0445 \u0441\u0442\u0430\u043D\u043E\u0432\u043B\u0435\u043D\u0438\u044F \u0436\u0430\u043D\u0440\u0430, \u0445\u0430\u0440\u0430\u043A\u0442\u0435\u0440\u0438\u0441\u0442\u0438\u043A\u0438 \u043F\u0435\u0440\u0441\u043E\u043D\u0430\u0436\u0435\u0439."@ru . . . . . . . "\u041A\u043E\u043C\u0438\u0447\u0435\u0441\u043A\u0430\u044F \u043E\u043F\u0435\u0440\u0430"@ru . . . . . . . . . . "\u00D3pera c\u00F3mica"@pt . "L'\u00F2pera c\u00F2mica \u00E9s un tipus d'\u00F2pera amb una m\u00FAsica m\u00E9s lleugera i amb un text majorit\u00E0riament m\u00E9s intranscendent, popular o c\u00F2mic que els de l'\u00F2pera seriosa: \n* A Fran\u00E7a se la denomin\u00E0 Op\u00E9ra-comique i es representava entre altres al Teatre Nacional de l'Op\u00E9ra-Comique de Par\u00EDs. No s'ha de confondre amb l'op\u00E9ra bouffe, molt propera a l'opereta, que es va representar sobretot al Th\u00E9\u00E2tre des Bouffes-Parisiens; \n* A It\u00E0lia s'anomen\u00E0 opera buffa a un g\u00E8nere d'\u00F2pera que es desenvolup\u00E0 a N\u00E0pols a la primera part del segle XVIII; \n* A Alemanya tamb\u00E9 aparegu\u00E9 un tipus d'\u00F2pera c\u00F2mica: el singspiel; \n* A Anglaterra hi hagu\u00E9 la , conreada per autors com William Shield i Arthur Sullivan; \n* A Castella i als Pa\u00EFsos Catalans la sarsuela i la tonadilla s\u00F3n g\u00E8neres que s'hi poden assimilar."@ca . . . . . . . . . . . . . . . . . . . "Con il termine opera comica si intende un genere operistico in forma di commedia per musica, nato nel XVII secolo. Tale genere vede protagonisti personaggi di medio e basso rango che agiscono in un contesto pi\u00F9 o meno contemporaneo a quello del pubblico, diversamente dal dramma per musica che porta in scena storie e personaggi tratti dalla mitologia, dall'epica cavalleresca e dalla storia antica o medievale. Le trame dell'opera comica sono di solito basate su intrighi amorosi, di tono sentimentale, avventuroso o comico (\"ridicoloso\"). Nell'opera comica la scenografia \u00E8 ridotta all'essenziale. A differenza del dramma per musica, infatti, non erano previsti complessi macchinari per le mutazioni di scena, n\u00E9 lussuosi costumi, n\u00E9 azioni coreutiche. Nella prima met\u00E0 del XVIII secolo in Italia l'opera buffa venne a costituire un autonomo genere teatrale alternativo all'opera seria giungendo a sopravanzarla verso la fine del Settecento.L'opera comica entr\u00F2 nelle pratiche di teatro musicale di altri paesi europei, ma in forme distinte da quella italiana. In Francia all'inizio del XVIII secolo nacque l'op\u00E9ra-comique, consistente in dialoghi parlati intercalati da pezzi cantati, che nel secolo successivo divenne l'operetta francese, il cui rappresentante principale fu Jacques Offenbach. Sia la forma italiana che quella francese vennero poi esportate nelle altre parti d'Europa. Molti paesi svilupparono a loro volta degli stili specifici innestando alcuni elementi della tradizione italiana e francese nelle loro consuetudini teatrali: il singspiel tedesco e l'operetta viennese, la zarzuela spagnola, l'opera comica russa, la ballad e la Savoy Opera inglesi, l'operetta e il musical nordamericani."@it . . . . . . . . . . . . . . . . . . . . . "Comic opera, sometimes known as light opera, is a sung dramatic work of a light or comic nature, usually with a happy ending and often including spoken dialogue. Forms of comic opera first developed in late 17th-century Italy. By the 1730s, a new operatic genre, opera buffa, emerged as an alternative to opera seria. It quickly made its way to France, where it became op\u00E9ra comique, and eventually, in the following century, French operetta, with Jacques Offenbach as its most accomplished practitioner."@en . . . "1104400659"^^ . . . . . . . . . . . . . . . . . . . . .