In contrary to general interpretations of opera buffa, the presence and importance of arias and ensembles based primarily on emotions (and not only action) are crucial for the genre’s dramaturgy as well as for its historical development. The presence of lyrical arias in opera buffa has its origins in the traditional comic dramaturgy (one or more couples of serious lovers), the number, form and functions of such arias, however, changed considerably during the 18th century. Not only the use of Tuscan Italian, but also adopting new music features of opera seria for lyrical arias of noble lovers (in 30ties) led to the rapid dissemination of the genre. Similarly, broadening of the typology of characters and its emotions in the works of Goldoni and his composers, mostly the including of the sentimental plots and its new kind of heroine, supported the popularity of opera buffa and its transformation to the leading operatic genre in the second half of 18th century., Marc Niubo., and Obsahuje bibliografické odkazy
Odpověď L. Lošťákovi na "Chromatické hromobití". Veřejné zdůvodnění Karla Kovařovice zdůvodňující nepřijetí opery Furianti do repertoáru Národního divadla.