When sacred in character the cantata differs from the oratorio in being shorter and less dramatic, in not usually having definite characters, and in being written for church use, while the oratorio is intended for concert performance.
When secular in subject the cantata differs from the opera in not usually having definite characters, and in being always rendered without scenery or action.
Examples of the sacred cantata are: Stainer's "The Crucifixion," Clough-Leighter's "The Righteous Branch," and Gaul's "The Holy City." Examples of the secular cantata are: Bruch's "Armenius," Coleridge-Taylor's "Hiawatha."
167. An oratorio is a composition on a large scale for chorus, soloists, and orchestra, the text usually dealing with some religious subject. The oratorio, as noted above, is not intended for the church service, but is written for concert performance.
168. An opera is a composition for vocal soloists, chorus, and orchestra, with characters, action, scenery, and dramatic movement. It is a drama set to music.
Grand opera is opera with a serious plot, in which everything is sung, there being no spoken dialog at all.
Opera comique is a species of opera in which part of the dialog is spoken and part sung. Opera comique is not synonymous with comic opera, for the plot of opera comique is as often serious as not. In fact the entire distinction between the terms grand opera and opera comique is being broken down, the latter term referring merely to operas first given at the Opera Comique in Paris, and the former term to those given at the Grand Opera House in the same city.
A comic opera is a humorous opera, the plot providing many amusing situations and the whole ending happily. It corresponds with the comedy in literature.
A light opera is one with an exceedingly trivial plot, in which songs, dances, and pretty scenery contribute to the amusement of the audience. The music is lively, but usually as trivial as the plot.
The term music drama was used by Wagner in referring to his own operas, and is also sometimes applied to other modern operas in which the dramatic element is supposed to predominate over the musical.