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UNIT 4: BAROQUE & CLASSICAL OPERA

Total questions: 30

Worksheet time: 30mins

Name
Class
Date
1.

In accompany monody ...

a)

... the higher voice became more important than the others.

b)

... the lower voice became more important than the others.

c)

... the melody disappeared.

d)

... there were more than one melody.

2.

The Basso continuo ...

a)

... was the higher voice and it had melodic functions.

b)

... was the lower voice and it had harmonic functions.

c)

... was the lower voice and it had melodic functions.

d)

... was the higher voice and it had harmonic functions.

3.

The Opera was created by ...

a)

... the Camerata Fiorentina.

b)

... the Camerata Napolitana.

c)

... the Roman citizenships.

d)

... the Camerata Valentina.

4.

The Camerata Fiorentina tried to resucitate ...

a)

... Greek classical theatre. The accompanied monody was perfect because indispensable requisite of opera was the intelligibility of the text .

b)

... English classical theatre. The accompanied monody was perfect because indispensable requisite of opera was the intelligibility of the text .

c)

... Greek classical theatre. The polyphonic texture was perfect because there were a lot of characters in the opera.

5.

Composers needed Castrati because ...

a)

... Church didn't allow women to sing.

b)

... women couldn't sing the higher register.

c)

... they sing lower.

d)

... Church didn't allow men to sing.

6.

Melodic fragments in which the singing is more expressive.

a)

Interludes

b)

Recitatives

c)

Aria

d)

Overture

e)

Chorus

7.

Fragments in which singers sing very clearly (almost like speaking), accompanied by a harpsichord.

a)

Interludes

b)

Recitatives

c)

Aria

d)

Overture

e)

Chorus

8.

Performed by a group of singers.

a)

Interludes

b)

Recitatives

c)

Aria

d)

Overture

e)

Chorus

9.

An instrumental piece of music played by the orchestra before the opera begins.

a)

Interludes

b)

Recitatives

c)

Aria

d)

Overture

e)

Chorus

10.

Instrumental sections that are inserted in order to join and put together the different parts of the opera.

a)

Interludes

b)

Recitatives

c)

Aria

d)

Overture

e)

Chorus

11.

Opera ________ used plots based on mythological and heroic topics.

a)

Opera seria

b)

Opera buffa

c)

Opera mixta

d)

Opera prima

12.

Opera ________ used plots based on daily life, with characters closer to the audience.

a)

Opera seria

b)

Opera buffa

c)

Opera mixta

d)

Opera prima

13.

Opera ________ was written in the main language of each country.

a)

Opera seria

b)

Opera buffa

c)

Opera mixta

d)

Opera prima

14.

Opera ________ was written in Italian.

a)

Opera seria

b)

Opera buffa

c)

Opera mixta

d)

Opera prima

15.

Opera ________ was the favourite genre of aristocracy.

a)

Opera seria

b)

Opera buffa

c)

Opera mixta

d)

Opera prima

16.

Opera ________ used castrati.

a)

Opera seria

b)

Opera buffa

c)

Opera mixta

d)

Opera prima

17.

Opera ________ didn't use castrati.

a)

Opera seria

b)

Opera buffa

c)

Opera mixta

d)

Opera prima

18.

Opera ________ replaced recitatives with dialogued passages.

a)

Opera seria

b)

Opera buffa

c)

Opera mixta

d)

Opera prima

19.

Haendel composed Opera _______.

a)

Opera seria

b)

Opera buffa

c)

Opera mixta

d)

Opera prima

20.

Arias in ___________ were interpreted for the glory of virtuoso singers.

a)

Baroque opera

b)

Classical Opera

c)

Romantic Opera

d)

Opera prima

21.

______________ used everyday life topics with real characters closer to the audience.

a)

Baroque opera

b)

Classical Opera

c)

Romantic Opera

d)

Opera prima

22.

______________ used mythological themes and superhuman characters.

a)

Baroque opera

b)

Classical Opera

c)

Romantic Opera

d)

Opera prima

23.

______________ had more balance between text and musics.

a)

Baroque opera

b)

Classical Opera

c)

Romantic Opera

d)

Opera prima

24.

The main composer in the operatic reform was ...

a)

... C. W. Gluck.

b)

... W. A. Mozart.

c)

... J. Haydn.

d)

... L. van Beethoven.

25.

Librettos are changed to adapt to ...

a)

... the new dramatic criteria, with less emphasis given to the singers, in contrast to the former period.

b)

... the old dramatic criteria, with less emphasis given to the singers, in contrast to the former period.

c)

... the new dramatic criteria, with more emphasis given to the singers, in contrast to the former period.

26.

Orchestras ...

a)

... take on more importance, with the instrumental accompaniment becoming a full part of the drama. Choirs also acquire greater importance.

b)

.. take on more importance, with the instrumental accompaniment becoming a full part of the drama. However, choirs has less importance.

c)

.. take on less importance, with the instrumental accompaniment becoming a residual part of the drama. Choirs acquire greater importance.

27.

Orpheus and Eurydice was composed by ...

a)

W. A. Mozart

b)

G. F. Haendel

c)

C. W. Gluck

d)

C. Monteverdi

28.

Orfeo was composed by ...

a)

W. A. Mozart

b)

G. F. Haendel

c)

C. W. Gluck

d)

C. Monteverdi

29.

Rinaldo was composed by ...

a)

W. A. Mozart

b)

G. F. Haendel

c)

C. W. Gluck

d)

C. Monteverdi

30.

The Magic Flute was composed by ...

a)

W. A. Mozart

b)

G. F. Haendel

c)

C. W. Gluck

d)

C. Monteverdi