The national opera has always been a huge capital for every major European country. Especially in Italy, which is the birthplace of this splendid human activity, every province quickly devised its own reaction to the new musical theatre demand, depending on its musical tradition. The vocal and instrumental opera was initially born in Venice, where harmonic melodies told a story told through theatre. Sacred plays and oratorios flourished in the Popes' Rome.
The next step came when all European capitals were influenced by Italian composers and it was initially the privilege of kings, queens and the aristocracy. Meanwhile, the national opera expanded beyond the realm of royal spectacle, becoming the domain of an increasing number of people. Opera has developed among the strongest export for Venice, Naples, and Rome. Also, the form of comedic opera was established in all European nations. Short talks in the appropriate official language, issues from ordinary life, far less complex music, and vocalists with voices that matched their gender were the key elements. The
national opera concept gained unanticipated dominance and hence a new function in the nineteenth century. The growth of national art schools was aided by the new ideas that spread throughout Europe like a whirlwind. Nation-states were formed on the basis of shared cultural roots. The 18th-century comic opera opened the stage for Romanticism to flourish. The subject matter was adapted to move away from Greco-Roman antiquity and toward historical or current issues.
