ballad opera

It has been described a modern example of a ballad opera.

A later development, also often referred to as ballad opera, was a more "pastoral" form.

It was highly successful and set the tone for Fielding's later ballad operas.

He was an important innovator and contributor in the evolution of the Ballad opera.

Over 10 ballad operas mention the tune by name.

Reynolds worked on the revival of 18th century ballad operas.

Another antecedent was ballad opera, in which new words were fitted to existing tunes.

It is from this connection that the term "ballad opera" is drawn.

The Disappointment (1762) represents an early American attempt at such a ballad opera.

English theater works ("ballad operas") continued to be popular into the 19th century.

The synergy with ballad opera was long forgotten.

In this respect, jigs anticipate the ballad operas of the 18th century.

Consequently, scores or parts for ballad operas have vanished in all except a mere handful of cases.

Mary Stuart, a ballad opera in 3 acts.

The play is Fielding's first truly political play and first ballad opera.

Its success led to the composition of a new work: the ballad opera Robin Hood.

In subject matter, especially, these "ballad operas" were antithetical to the more satirical variety.

Meredith also wrote unpublished ballad opera and rock opera.

He wrote poetic dramas and ballad operas.

Also in 1730, Ralph wrote a ballad opera called The Fashionable Lady.

Ballad opera was attempted in America and Prussia.

He wrote several successful stage works of which his ballad opera, The Devil to Pay, was the most successful.

The satiric elements of ballad opera can be seen in some modern musicals such as Chicago and Cabaret.

Ballad operas were satire musical plays that used some of the conventions of opera, but without recitative.