A form of Italian opera beginning at the end of the 19th century. The setting is contemporary to the composer's own time, and the characters are modeled after every day life. [Go to source
Italian for realism. In opera it's a term used to describe a style of Italian opera largely pioneered by Mascagni. It was popular in the late 19th and early 20th centuries and which produced 'slices of life' rather than the idealised larger - then - life characters and subjects previously favoured. The most important verismo composers are Cilea, Giordano, Mascagni, Leoncavallo and Puccini, the latter only in part a verismo composer.
A descriptive term for a realistic, often sensational, type of late-Romantic Italian opera, whose disreputable characters are caught up in lust, greed, betrayal, or revenge.
(ver-EEZ-moe) Italian for realism. The Italian movement of the late 19th and early 20th centuries, exemplified by a quest for naturalism in plays, literature, and operas. In this style, the main point was to concentrate on areas previously regarded as better neglected, especially criminal, violent, lowlife, and wretched or squalid behavior. Although verismo claimed to confront the “slice of life†(the “squarcio di vita†promised by Tonio in the prologue to Leoncavallo’s Pagliacci), the exceptional and horrifying as represented by crimes of passion— especially in a peasant or working-class milieu—were of particular fascination, and lie at the center of many verismo operas. In literature, a prime example is in the works of the Sicilian writer Giovanni Verga, whose story Cavalleria rusticana (1880) was first dramatized (1884) and which then provided the libretto for the parent opera of verismo, Mascagni’s Cavalleria rusticana (1890). Puccini gave the genre greater artistic range with La bohème (1896), Tosca (1900) and La fanciulla del West (1910).
Italian for 'realism'; originally a type of 19th century Italian opera which depicted and centered on characters who were socially marginal, often the lower classes.
Italian for "truth." a documentay style of opera involving melodramatice situations.
Operatic "realism", a style popular in Italy in the 1890s, which tried to bring naturalism into the lyric theater.
(vair-EEZ-moh) Literally, "truth"; a style of theatre made popular in the latter part of the 19th century in which ordinary events and characters participate in melodramatic situations. Bizet's CARMEN was considered an early and powerful example of verismo, and so are most of the operas of Puccini and Mascagni.
A realistic and sensational type of late Romantic Italian opera.
From Italian for "realism." Late 19th-century operatic style, especially Italian, which emphasized highly emotional situations drawn from "real-life" settings.
(veh-REES-mow) Romantic realism. Blood-and-guts opera, imbued with earthy, gritty situations and characters, that became popular after 1890.
veh-REEZ-moh]: a style of late-19th/early-20th-century opera composition, roughly corresponding to the "Realism" movements in art and literature. Turning away from heroic subjects, verismo sought to portray a "slice of life," examining the ordinary and even the squallid. Among the most notable verismo composers are Umberto Giordano, Ruggero Leoncallo, Pietro Mascagni and Francesco Cilea. The music of verismo has been described by one critic as taking the most highly emotional moments of Verdi and stringing them together for a whole opera.
Verismo was an Italian literary movement born approximately between 1875 and 1895. It was mainly inspired by French naturalism, and Giovanni Verga and Luigi Capuana were its main exponents and writers of a verismo manifesto. Unlike French Naturalism, that was based on positivistic ideals, Verga and Capuano rejected claims of scientific nature and social usefulness of the movement.