这一次也见证了马德里歌剧，或“马德里喜剧”，这是一种基因的形式，包括音乐学家谁知道后来的流派。这不是演戏，而是戏剧性的叙事，由一系列串在一起的小调组成。音乐剧《萨提罗之歌》(Il Satiro)和《天堂之歌》(La分散azione di Fileno)都是1590年创作的，作者是埃米利奥·德·卡瓦列里(Emilio de’ Cavalieri)。说工作没有背诵的但只有阿里亚斯,但是相信这就是仙女最初是指在前言的知名,原本保守的Euridice显然所引用行读取“绅士埃米利奥•德尔Cavalieri,其他的人我知道,使我们听到我们的音乐在舞台”。当时出现的其他形式还有戏剧，包括长时间的音乐成员，其中最早的一种是Poliziano的La fabula d’orfeo(1480)，由一个合唱和至少三首独唱组成。
Since Italy was the originating place of opera, it slowly spread its wings throughout Europe. The nineteenth century is known as the period where opera actually and further flourished which showcased the cultural movements like Romanticism, Orientalism, and Realism which was taking place in Italy and other parts at the given point of time. The composers now tend to include drama more to reform the current form of opera which produces a tension between spectacle and drama, nevertheless keeping the spirit of opera still alive.
This time also witnessed madrigal operas, or “madrigal comedy” which was a form of gene included by the musicologists who knew the later genre. This was not staged, but was dramatic narrative, which consisted of series of madrigals stringed together. Musical pastorals which were staged were significantly known as Il Satiro and La Disperazione di Fileno, both produced in 1590, writer being Emilio de’ Cavalieri. The said works have no recitative but only arias, but then again it is believed that this is what Peri was originally referring to in preface of the well-known and originally conserved ‘Euridice’ where it is clearly mentioned in the quoted line which reads “Signor Emilio del Cavalieri, before any other of whom I know, enabled us to hear our kind of music upon the stage”. Other forms which were present at this point of time were plays which included long musical members and one of the earliest known in the same was La fabula d’Orfeo (1480) by Poliziano which consisted to one chorus and at least three solo songs.