Editing Opera (section)

==Operatic terminology==
[[File:Bouffes parisiens (cropped).jpg|thumb|upright=1.2|Audience at the [[Théâtre des Bouffes-Parisiens]], the birthplace of [[Jacques Offenbach]]'s [[operetta]]s; caricature of 1860 by [[Émile Bayard]]]]
The words of an opera are known as the [[libretto]] (meaning "small book"). Some composers, notably Wagner, have written their own libretti; others have worked in close collaboration with their librettists, e.g. Mozart with [[Lorenzo Da Ponte]]. Traditional opera, often referred to as "[[number opera]]", consists of two modes of singing: [[recitative]], the plot-driving passages sung in a style designed to imitate and emphasize the inflections of speech,<ref name="Apel, p. 718"/> and [[aria]] (an "air" or formal song) in which the characters express their emotions in a more structured melodic style. Vocal duets, trios and other ensembles often occur, and choruses are used to comment on the action. In some forms of opera, such as [[singspiel]], [[opéra comique]], [[operetta]], and [[semi-opera]], the recitative is mostly replaced by spoken dialogue. Melodic or semi-melodic passages occurring in the midst of, or instead of, recitative, are also referred to as [[arioso]]. The terminology of the various kinds of operatic voices is described in detail [[#Operatic voices|below]].<ref>General information in this section comes from the relevant articles in ''The Oxford Companion to Music'', by [[Percy Scholes|P. Scholes]] (10th ed., 1968).</ref>

During both the [[Baroque]] and [[Classical period (music)|Classical periods]], recitative could appear in two basic forms, each of which was accompanied by a different instrumental ensemble: {{lang|it|secco}} (dry) recitative, sung with a free rhythm dictated by the accent of the words, accompanied only by {{lang|it|[[basso continuo]]}}, which was usually a [[harpsichord]] and a cello; or {{lang|it|accompagnato}} (also known as {{lang|it|strumentato}}) in which the orchestra provided accompaniment. Over the 18th century, arias were increasingly accompanied by the orchestra. By the 19th century, {{lang|it|accompagnato}} had gained the upper hand, the orchestra played a much bigger role, and Wagner revolutionized opera by abolishing almost all distinction between aria and recitative in his quest for what Wagner termed "[[endless melody]]". Subsequent composers have tended to follow [[Richard Wagner|Wagner]]'s example, though some, such as Stravinsky in his ''[[The Rake's Progress]]'' have bucked the trend. The changing role of the orchestra in opera is described in more detail [[#Changing role of the orchestra|below]].