List of opera genres

Théâtre de la foire

The Paris Foire St Germain, circa 1763, after the fire of 1762.

Nicolet's theatre at the Foire St Laurent, circa 1786.

In the early 18th century, the Théâtre de la foire - a collective name for the theatres at the annual fairs at St Germain, St Laurent (see illustration below) and later, St Ovide - offered performances with both music and spoken dialogue. First called comédie en vaudeville, these developed into the opéra comique. The Théâtre de la foire appeared in London in the 1720s, to be imitated in the form of the English ballad opera, which in turn stimulated the creation of the German Singspiel.

This is an inclusive glossary list of opera genres, giving alternative names.

'Opera' is an Italian word (short for 'opera in musica'), however it was not commonly used in Italy (or indeed in other countries) to refer to the genre of particular works. Most composers used more precise designations to present their work to the public. Often specific genres of opera were commissioned by theatres or patrons (in which case the form of the work might deviate more or less from the genre norm, depending on the inclination of the composer). Opera genres were not exclusive. Some operas are regarded as belonging to several. In the case of doubt the only authority is, ultimately, the composer himself.

Definitions

Opera genres have been defined in different ways, not always in terms of stylistic rules. Some, like opera seria, refer to traditions identified by later historians , while others, like Zeitoper, have been defined by their own inventors. Other forms have been associated with a particular theatre, for example opéra comique at the theatre of the same name, or opéra bouffe at the Théâtre des Bouffes Parisiens.

This list does not include terms that are unhistorical, or vague and merely descriptive, such as 'rescue opera' , 'comic opera' , 'sacred opera', 'tragic opera' or 'one-act opera' etc. Original language terms are given to avoid the ambiguities that would be caused by English translations.

List

Genre	Language	Description	First known example	Major works	Last known example	Notable composers	Refs.
Acte de ballet || French || An opéra ballet consisting of a single entrée. 18th century. || || Les fêtes de Ramire (1745), Anacréon (1754), || || Rameau ||
Afterpiece	English	18th/early 19th century short opera or pantomime performed after a full-length play.		The Padlock (1768)		Dibdin
Azione sacra || Italian ||Literally, 'sacred action'. 17th and early 18th century opera with religious subject. Performed at Vienna court. || || L'humanità redenta (Draghi, 1669) || || Draghi, Bertali, Pietro Andrea Ziani, Giovanni Battista Pederzuoli, Cesti ||
Azione sepolerale || Italian ||alternative name for azione sacra || || || || ||
Azione scenica || Italian ||alternative name for azione teatrale || || ||Al gran sole carico d'amore (1975)|| ||
Azione teatrale (plural azioni teatrali)	Italian	Small-scale one-act opera, or musical play. Early form of chamber opera. Popular in late 17th and 18th centuries. (See also festa teatrale, a similar genre but on a larger scale.)		Le cinesi (1754), Il sogno di Scipione (1772), L'isola disabitata (1779)		Gluck, Mozart, Haydn
Ballad opera	English	Entertainment originating in 18th-century London as a reaction against Italian opera. Early examples used existing popular ballad tunes set to satirical texts. Also popular in Dublin and America, Influenced the German Singspiel, and subsequently 20th-century opera.	The Beggar's Opera (1728)	Love in a Village (1762), Hugh the Drover (1924), The Threepenny Opera (1928)		Pepusch, Coffey, Arne, Weill
Ballet héroïque || French || Literally 'heroic ballet'. A type of opéra ballet featuring the heroic and exotic, of the early/mid 18th century.||Les festes grecques et romaines (Colin de Blamont, 1723)|| Zaïde, reine de Grenade (1739), Les fêtes de Paphos (1758) || || Royer, Mondonville, Mion ||
Bühnenfestspiel || German || Literally, 'stage festival play'. Wagner's description of the four operas of Der Ring des Nibelungen || || || || Wagner ||
Bühnenweih­festspiel || German || Literally, 'consecrated stage festival play'. Wagner's description for Parsifal || || || || Wagner ||
Burla || Italian || alternative name for burletta || || || || ||
Burletta	Italian	Literally, 'little joke'. Informal term for comic pieces in the 18th century. Used in England for intermezzos and light, satirical works.		The Recruiting Serjeant (1770)		Dibdin
Burletta per musica || Italian || alternative name for burletta || || Il vero originale (Mayr 1808)|| || ||
Burlettina || Italian || alternative name for burletta || |||| || ||
Characterposse || German || Specialized form of Posse mit Gesang concentrating on personalities. || || || || ||
Comédie en vaudeville	French	Entertainment in Paris fair theatres at the end of the 17th century, mixing popular vaudeville songs with comedy. In the 18th century, developed into the opéra comique, while influencing directly the English ballad opera and indirectly the German Singspiel.
Comédie lyrique || French || Literally, 'lyric comedy'. 18th century: description used by Rameau. 19th century: alternative name for opéra lyrique. || || Platée (1745), Les Paladins (1760) || || Rameau ||
Comédie mêlée d'ariettes	French	Literally, 'comedy mixed with brief arias'. An early form of French opéra comique dating to the mid 18th century.		La rencontre imprévue (1764), Tom Jones (1765), Le déserteur (1769), Zémire et Azor (1771)		Gluck, Grétry
Commedia || Italian ||abbreviation of commedia in musica || || Il barbiere di Siviglia (1816) || || ||
Commedia in musica || Italian ||alternative name for opera buffa || || || || ||
Commedia per musica || Italian || alternative name for opera buffa || || La pastorella nobile (1788)|| || ||
Componimento da camera || Italian || alternative name for azione teatrale || || || || ||
Componimento dramatico || Italian || alternative name for azione teatrale || || || || ||
Componimento pastorale || Italian || alternative name for azione teatrale || || La danza (Gluck, 1755) || || Gluck||
Conte lyrique || French ||alternative name for opéra lyrique || || || || ||
Divertimento giocoso || Italian || alternative name for opera buffa || || || || ||
Dramatic (or dramatick) opera || English || alternative name for semi-opera || || || || ||
Drame forain || French || alternative name for Comédie en vaudeville || || || || ||
Drame lyrique || French || Literally, 'lyric drama'. (1) Term used in the 18th century. (2) Reinvented in the late 19th/early 20th century to describe opera that developed out of opéra comique, influenced by Massenet. || || Echo et Narcisse (1779), Werther (1892), Briséïs (1897), Messidor (1897) || || Gluck, Chabrier, Bruneau, Erlanger ||
Dramma bernesco || Italian || alternative name for opera buffa || || || || ||
Dramma comico || Italian || alternative name for opera buffa, 18th/early 19th century. Also used for the genre that replaced it from mid 19th century, with the elimination of recitatives. || || || || ||
Dramma comico per musica || Italian || alternative name for dramma comico || || || || ||
Dramma di sentimento || Italian || alternative name for opera semiseria || || || || ||
Dramma eroicomico || Italian || Literally 'heroic-comic drama'. A late 18th century opera buffa with some heroic content. || || Orlando paladino (1782), Palmira, regina di Persia (1795)|| || Haydn, Salieri ||
Dramma giocoso (plural drammi giocosi)	Italian	Literally, 'jocular drama'. Mid 18th century form that developed out of the opera buffa, marked by the addition of serious, even tragic roles and situations to the comic ones. (Effectively a sub-genre of opera buffa in the 18th century.)		La scuola de' gelosi (1778), La vera costanza (1779), Il viaggio a Reims (1825),		Haydn, Mozart, Salieri, Sarti, Rossini, Donizetti
Dramma giocoso per musica || Italian || full term for dramma giocoso || || || || ||
Dramma pastorale || Italian ||Literally, 'pastoral drama'. Used for some of the earliest operas down to the 18th century. || || Eumelio (Agazzari, 1606), La fede riconosciuta (A Scarlatti, 1710) || || A Scarlatti, Sarti ||
Dramma per musica || Italian || commonly-used name for opera seria. || || || || ||
Dramma semiserio || Italian || alternative name for opera semiseria || || Torvaldo e Dorliska (1815)|| || ||
Dramma tragicomico || Italian || alternative name for opera semiseria. || || Axur, re d'Ormus (1787)|| || ||
Entr'acte	French	French name for intermezzo
Episode lyrique || French ||alternative name for opéra lyrique || || || || ||
Fait historique || French ||Late 18th/19th century. Opéra or opéra comique based on French history, especially popular during the revolution. || L'incendie du Havre (1786)|| Joseph Barra (Grétry 1794), Le pont de Lody (Méhul 1797), Milton (1804)|| || Grétry, Méhul, Spontini ||
Farsa (plural farse)	Italian	Literally, 'farce'. A form of one-act opera, sometimes with dancing, associated with Venice, especially the Teatro San Moisè, in the late 18th and early 19th centuries.		La cambiale di matrimonio (1810), L'inganno felice (1812), La scala di seta (1812), Il signor Bruschino (1813), Adina (1818)		Rossini
Farsetta || Italian || alternative name for farsa || || || || ||
Feenmärchen || German || alternative name for Märchenoper|| || || || ||
Festa teatrale	Italian	A grander version of the azione teatrale. An opera given as part of a court celebration (of a marriage etc.) Typically associated with Vienna.	Il pomo d'oro (Cesti, 1668)			Draghi, Fux, Caldara
Geistliche Oper || German ||Literally, 'sacred opera'. Genre invented by the Russian composer Anton Rubinstein for his German-language, staged opera-oratorios.|| Das verlorene Paradies (Rubinstein, 1856) || Der Thurm zu Babel (1870), Sulamith (1883), Moses (1894) || Christus (Rubinstein, 1895) || Rubinstein ||
Género chico	Spanish	Literally, 'little genre'. A type of zarzuela, differing from zarzuela grande by its brevity and popular appeal.				Ruperto Chapí
Género grande || Spanish ||alternative name for zarzuela grande || || || || ||
Grand opéra	French	19th-century genre, usually with 4 or 5 acts, large-scale casts and orchestras, and spectacular staging, often based on historical themes. Particularly associated with the Paris Opéra (1820s to c. 1850), but similar works were created in other countries.	La muette de Portici (1828)	Robert le diable (1831), La Juive (1835), Les Huguenots (1836)	Patrie! (Paladilhe, 1886)	Meyerbeer, Halévy, Verdi
Handlung || German || Literally 'action' or 'drama'. Wagner's description for Tristan und Isolde. || || || || Wagner ||
Intermezzo	Italian	Comic relief inserted between acts of opere serie in the early 18th century, typically involving slapstick, disguises etc. Spread throughout Europe In the 1730s. Predated Opera buffa.	Frappolone e Florinetta (Gasparini?, 1706)	La serva padrona (1733)		Pergolesi, Hasse
Liederspiel || German || Literally 'song-play'. Early 19th century genre in which existing lyrics, often well-known, were set to new music and inserted into a spoken play. || Lieb' und Treue (Reichardt, 1800)|| Kunst und Liebe (Reichardt, 1807)|| || Reichardt Lindpaintner ||
Lokalposse || German || Specialized form of Posse mit Gesang concentrating on daily life themes, associated with the playwright Karl von Marinelli. || || || || ||
Märchenoper || German || 'Fairy-tale opera', a genre of 19th century opera usually with a supernatural theme. Similar to Zauberoper.|| || Hänsel und Gretel (1893) || || Humperdinck, Siegfried Wagner ||
Märchenspiel || German || alternative name for Märchenoper|| || || || ||
Melodramma	Italian	19th century. General term for opera sometimes used instead of more specific genres.
Melodramma serio || Italian || alternative name for opera seria|| || || || ||
Musikdrama || German || Term associated with the later operas of Wagner but repudiated by him. Nevertheless widely used by post-Wagnerian composers. || || Tiefland (1903), Salome (1905), Der Golem (d'Albert 1926)|| || d'Albert, Richard Strauss ||
Opéra || French ||Referring to individual works: 1. 18th century. Occasionally used for operas outside specific, standard genres. 2. 19th/20th century: an opéra is a "French lyric stage work sung throughout" in contrast to an opéra comique that mixed singing with spoken dialogue. Opéra (which included grand opéra), was associated with the Paris Opéra (the Opéra). Also used for some works with a serious tone at the Opéra-Comique. || || Naïs (1749), Fernand Cortez (1809), Moïse et Pharaon (1827), Les vêpres siciliennes (1855), Roméo et Juliette (1867) || || Grétry, Spontini, Rossini, Verdi, Gounod ||
Opéra-ballet	French	Genre with more dancing than tragédie en musique. Usually with a prologue and a number of self-contained acts (called entrées), following a theme.	L'Europe galante (1697)	Les Indes galantes (1735), Les fêtes d'Hébé (1739)		Rameau
Opera ballo || Italian || 19th-century Italian grand opéra. || || Il Guarany (1870), Aida (1871), La Gioconda (opera) (1876) || || Gomes, Verdi, Ponchielli ||
Opera buffa (plural, opere buffe)	Italian	Major genre of comic opera in the 18th and early 19th centuries. Originating in Naples (especially the Teatro dei Fiorentini), its popularity spread during the 1730s, notably to Venice where development was influenced by the playwright/librettist Goldoni. Typically in three acts, unlike the intermezzo. Contrasting in style, subject matter, and the use of dialect with the formal, aristocratic opera seria.	La Cilla (Michelangelo Faggioli, 1706)	Li zite 'ngalera (1722), Il filosofo di campagna (Galuppi, 1754), La buona figliuola (1760), Le nozze di Figaro (1786), Il barbiere di Siviglia (1816), Don Pasquale (1843)	Crispino e la comare (1850)	Vinci, Galuppi, Duni, Piccinni, Sacchini, Salieri, Mozart, Rossini
Opéra bouffe (plural, opéras bouffes)	French	Comic genre of opérette including satire, parody and farce. Closely connected with Offenbach and the Théâtre des Bouffes-Parisiens where most of them were produced.	Orphée aux enfers (1858)	La belle Hélène (1864), La Grande-Duchesse de Gérolstein (1867), La Périchole (1868)	Les mamelles de Tirésias (1947)	Offenbach, Hervé, Lecocq
Opéra bouffon	French	Opera buffa as performed in 18th-century France, either in the original language or in translation. (Sometimes confused with opéra comique.)		Le roi Théodore à Venise (Paisiello, 1786)
Opéra comique (plural, opéras comiques)	French	Literally, 'comic opera'. Genre including arias, a certain amount of spoken dialogue (and sometimes recitatives). Closely associated with works written for the Paris Opéra-Comique. Themes included were serious and tragic, as well as light. Tradition developed from popular early 18th century comédies en vaudevilles and lasted into 20th century with many changes in style.	Télémaque (Jean-Claude Gillier, 1715)	La dame blanche (1825), Carmen (1875), Lakmé (1883)		Grétry, Boieldieu, Auber,
Opéra comique en vaudeville || French || alternative name for comédie en vaudeville|| || || || ||
Opéra féerie (plural, opéras féeries)	French	18th/19th century genre of works based on fairy tales, often involving magic.		Zémire et Azor (1771), Cendrillon (1810), La belle au bois dormant (1825)		Carafa, Isouard
Opéra lyrique || French || Literally, 'lyric opera'. Late 18th/19th century, less grandiose than grand opéra, but without the spoken dialogue of opéra comique. (Term applied more to the genre as a whole than individual operas.)|| || || || Gounod, Ambroise Thomas, Massenet ||
Opera semiseria	Italian	Literally, 'semi-serious opera'. Early/mid 19th century genre employing comedy but also, unlike opera buffa, pathos, often with a pastoral setting. Typically included a basso buffo role.	Camilla (Paër, 1799)	La gazza ladra (1817), Linda di Chamounix (1842)	Violetta (Mercadante, 1853)	Rossini, Donizetti
Opera seria (plural, opere serie)	Italian	Literally, 'serious opera'. Dominant style of opera in the 18th century, not only in Italy but throughout Europe (except France). Rigorously formal works using texts, mainly based on ancient history, by poet-librettists led by Metastasio. Patronized by the court and the nobility. Star singers were often castrati.		Griselda (1721), Cleofide (Hasse, 1731), Ariodante (1735), Alceste (1767), La clemenza di Tito (1791)		Alessandro Scarlatti, Vivaldi, Hasse, Handel, Gluck, Mozart
Opéra-tragédie || French || alternative name for tragédie en musique|| || || || ||
Operetta	English (from Italian)	Literally, 'little opera'. The earliest Offenbachian operettas in English were written by Sullivan (later with Gilbert), who nevertheless called them 'comic operas' or Savoy operas. Later works influenced the rise of musical theatre.	Cox and Box (1866)	The Mikado (1888), Merrie England (1902), Naughty Marietta (1910), Monsieur Beaucaire (1919), The Vagabond King (1925)		Sullivan, German, Herbert, Friml
Opérette (plural, opérettes) || French || French operetta. Original genre of light (both of music and subject matter) opera that grew out of the French opéra comique in the mid 19th century. Associated with the style of the Second Empire by the works of Offenbach, though his best known examples are designated subgenerically as opéras bouffes. ||L'ours et le pacha (Hervé, 1842)|| Madame Papillon (Offenbach, 1855), Les mousquetaires au couvent (1880), Les p'tites Michu (1897), Ciboulette (1923)|| || Hervé, Offenbach, Varney, Messager, Hahn ||
Opérette bouffe || French || Subgenre of French opérette.|| || La bonne d'enfant (1856), M. Choufleuri restera chez lui le . . . (1861)|| || Offenbach ||
Opérette vaudeville (or vaudeville opérette) || French || Subgenre of French opérette.||L'ours et le pacha (Hervé, 1842) || Mam'zelle Nitouche (1883)|| || Hervé, Victor Roger ||
Operette (plural, operetten) || German || German operetta. Popular Viennese genre during the 19th and 20th centuries, created under the influence of Offenbach and spread to Berlin, Budapest, and other German and east European cities.||Das Pensionat (Suppé, 1860)|| Die Fledermaus (1874), The Merry Widow (1905), Das Land des Lächelns (1929) || Frühjahrsparade (Robert Stolz, 1964)|| Johann Strauss II, Lehár, Oscar Straus ||
Pasticcio	Italian	Literally 'a pie' or a hotchpotch. An adaptation or localization of an existing work that is loose, unauthorized, or inauthentic. Also used for a single work by a number of different composers, particularly in early 18th-century London.		Thomyris (Pepusch, Bononcini, Scarlatti, Gasparini, Albinoni, 1707) Muzio Scevola (1721), Ivanhoé (1826)		Handel, Vivaldi
Pièce lyrique || French ||alternative name for opéra lyrique || || || || ||
Pastorale héroïque	French	Genre of Baroque opera, usually in three acts with an allegorical prologue, that typically drew on classical themes associated with pastoral poetry.	Acis et Galatée (1686)	Zaïs (1748), Naïs (1749)		Lully, Rameau
Posse ||German || alternative name for Posse mit Gesang || || || || ||
Posse mit Gesang (plural Possen mit Gesang)	German	Literally, 'farce with singing'. Popular entertainment of late 18th/early 19th centuries, associated with Vienna, Berlin and Hamburg. Similar to the Singspiel, but with more action and less music.		Der Alpenkönig und der Menschenfeind (Raimund, 1828)		Kreutzer, Müller, Schubert
Possenspiel || German || early name for Posse mit Gesang || || || || ||
Possenspil || German || early name for Posse mit Gesang || || || || ||
Rappresentazione sacra || Italian ||alternative name for azione sacra || || || || ||
Romantische Oper	German	Early 19th-century German genre derived from earlier French opéras comiques, dealing with 'German' themes of nature, the supernatural, folklore etc. Spoken dialogue, originally included with musical numbers, was eventually eliminated in works by Richard Wagner.	Der Freischütz (1821)	Hans Heiling (1833), Undine (1845), Tannhäuser (1845)	Lohengrin (1850)	Weber, Marschner, Lortzing, Wagner
Sainete	Spanish	Literally, 'farce' or 'titbit'. 17th/18th century genre of comic opera similar to the Italian intermezzo, performed together with larger works. Popular in Madrid in the latter 18th century. During 19th century, the Sainete was synonymous with género chico.	Il mago (1632)			Pablo Esteve, Soler, Antonio Rosales
Sainetillo || Spanish || Diminutive of sainete|| || || || ||
Savoy opera	English	19th-century form of operetta or comic opera identified with the work of Gilbert and Sullivan at the Savoy Theatre in London.	Trial by Jury (1875)	The Pirates of Penzance (1880), The Mikado (1885)	A Princess of Kensington (1903)	Sullivan
Saynète ||French || French for sainete. Description used for a particular style of opérette in the 19th century.|| || La caravane de l'amour (Hervé, 1854), Le rêve d'une nuit d'été (Offenbach, 1855), Le valet de coeur (Planquette, 1875) || || Hervé, Offenbach, Planquette ||
Schauspiel mit Gesang || German || Literally, 'play with singing'. Term used by Goethe for his early libretti, though he called them Singspiele when revising them. ||Erwin und Elmire (Goethe 1775)|| Liebe nur beglückt (Reichardt, 1781), Die Teufels Mühle am Wienerberg (Müller 1799) || || ||
Schuloper || German || Literally, 'school opera'. Early 20th century, opera created for performance by school children. || || Der Jasager (1930), Wir bauen eine Stadt (Hindemith, 1930) || || Weill, Hindemith ||
Semi-opera	English	Early form of opera with singing, speaking and dancing roles. Popular between 1673 and 1710.	The Tempest (Betterton, 1674)	Psyche (1675), King Arthur (1691), The Fairy-Queen (1692)		Purcell
Sepolcro || Italian || Azione sacra on the subject of the passion and crucifixion of Christ. || || || || Draghi ||
Serenata	Italian	Literally, 'evening song'. Short opera performed at court for celebrations, similar to the azione teatrale. (Also used to refer to serenades.)		Acis and Galatea (1720), Il Parnaso confuso (Gluck 1765)		Handel, Gluck
Singspiel (plural Singspiele)	German	Literally, 'song play'. Popular genre of the 18th/19th centuries, (though the term is also found as early as the 16th century). Derived originally from translations of English ballad operas, but also influenced by French opéra comique. Spoken dialogue, combined with ensembles, folk-coloured ballads and arias. Originally performed by traveling troupes. Plots generally comic or romantic, often including magic. Developed into German 'rescue opera' and romantische Oper.	Der Teufel ist los (Johann Georg Standfuss, 1752)	Die verwandelten Weiber (1766), Die Jagd (1770), Die Entführung aus dem Serail (1782), Abu Hassan (1811)		Hiller, Mozart, Weber
Situationsposse || German || Specialized form of Posse mit Gesang concentrating on social situations. || || || || ||
Songspiel || German || Literally, 'song play'. Term invented by Kurt Weill to update the concept of Singspiel || || Mahagonny-Songspiel (1927)|| || Kurt Weill ||
Spieloper	German	Literally, 'opera play'. 19th-century light opera genre, derived from Singspiel and to a lesser extent opéra comique, containing spoken dialogue. Spieltenor and Spielbass are specialized voice types connected with the genre.		Zar und Zimmermann (1837), The Merry Wives of Windsor (1849)		Lortzing, Nicolai
Syngespil || Danish || Local form of Singspiel. Late 18th/19th century. || || Soliman den Anden (Sarti, 1770), Holger Danske (1787), Høstgildet (Schulz, 1790) || ||Sarti, Schulz, Kunzen ||
Tonadilla	Spanish	Literally, 'little tune'. 18th century miniature satirical genre, for one or more singer, that developed out of the sainete. Performed in between longer works.		La mesonera y el arriero (Luis Misón, 1757)		Antonio Guerrero, Misón, José Palomino
Tragédie || French || alternative name for tragédie en musique|| || || || ||
Tragédie en musique	French	17th/18th century lyric genre with themes from Classical mythology and the Italian epics of Tasso and Ariosto, not necessarily with tragic outcomes. Usually 5 acts, sometimes with a prologue. Short arias (petits airs) contrast with dialogue in recitative, with choral sections and dancing.	Cadmus et Hermione (1673)	Médée (1693), Scylla et Glaucus (1746)		Lully, Marais, Montéclair, Campra, Rameau
Tragédie lyrique || French || alternative name for tragédie en musique|| || || || ||
Tragédie mise en musique || French || alternative name for tragédie en musique || || || || ||
Tragédie-opéra || French || alternative name for tragédie en musique|| || || || ||
Verismo	Italian	Late 19th/early 20th century opera movement inspired by literary naturalism and realism, and associated with Italian post-romanticism.	Cavalleria rusticana (1890)	Pagliacci (1892), Tosca (1900)		Mascagni, Leoncavallo, Puccini, Giordano
Volksmärchen || German || alternative name for Märchenoper.|| || Das Donauweibchen (Kauer 1798) || || ||
Zarzuela	Spanish	Dating back to the 17th century and forward to the present day, this form includes both singing and spoken dialogue, also dance. Local traditions are also found in Cuba and the Philippines.	La selva sin amor (Lope di Vega, 1629)	Doña Francisquita (1923), La dolorosa (1930), Luisa Fernanda (1932)		Hidalgo, Barbieri
Zauberoper || German || Literally, 'magic opera'. Late 18th and early 19th centuries, particularly associated with Vienna. Heavier, more formal work than Zauberposse, but also with spoken dialogue. ||Oberon, König der Elfen (Wranitzky, 1789) || Die Zauberflöte (1791), Das Donauweibchen, (Kauer, 1798)|| || Kauer, Müller, Schubert||
Zauberposse || German || Specialized form of Posse mit Gesang concentrating on magic. || || Der Barometermacher auf der Zauberinsel (Müller 1823)|| || Müller ||
Zeitoper (plural Zeitopern)	German	Literally, 'opera of the times'. 1920s, early 1930s genre, using contemporary settings and characters, including references to modern technology and popular music.		Jonny spielt auf (1927)		Krenek, Weill, Hindemith
Zwischenspiel || German || German name for intermezzo || || || || ||

See also

The following cover other forms of entertainment that existed around the time of the appearance of the first operas in Italy at the end of the 16th century, which were influential in the development of the art form:

• Intermedio
• Masque
• Madrigale concertato
• Madrigal comedy