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Reiner Torheit
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« on: 20:20:32, 02-05-2007 » |
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We all know this scenario.... in an opera that is rarely staged due to (a) outrageous cost implications (b) near-impossibility of casting it adequately, or (c) a large part of the score being third-rate old tat....
... there is ONE super aria which is neglected because it's part of an "unpopular" opera.
Tell us which are your favourite "waif & stray" arias?
Allow me to kick the ball into touch with the super mezzo aria "Nuit resplendissante" from Gounod's near-forgotten opera "Cinq-Mars"... a sultry number sung by the Princesse Marie when she is walking in the garden outside the Palace after the grand ball... at the ball it was announced that she is to be married to the King Of Poland (whom she has never seen)... but the dashing Marquis de Cinq-Mars has declared his love for her... what to do, to follow love... or duty?
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
- Leon Trotsky, "My Life"
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Il Grande Inquisitor
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« Reply #1 on: 21:00:52, 02-05-2007 » |
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I suppose it depends where you’re posting from, Reiner. I’d nominate the Swan Princess’ aria from Rimsky-Korsakov’s ‘The Tale of Tsar Saltan’. I’ve no idea when this was last staged in the UK, although I'd imagine it's a staple in Russia. The orchestral music, including the Flight of the Bumble Bee, is very well known, of course, but how many people here have had the opportunity to listen to a recording or go to a performance. The aria is so beautiful, starting with gently floated high notes as the Swan Princess thanks Guidon for saving her life and promises to serve him in times to come.
Arias I’ve heard which make me want to seek out ‘unpopular operas’ include ‘J'ai verse le poison dans cette coupe d'or’ from Massenet’s ‘Cléopâtre’ and Inspirez-moi, race divine!’ from Gounod’s ‘La Reine de Saba’.
There must be some great arias from Meyerbeer operas which rarely get staged/ performed. Any suggestions?
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
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Don Basilio
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« Reply #2 on: 21:08:02, 02-05-2007 » |
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This sounds irresistible. I will watch recommendations with great interest.
Of course thirty years ago, almost anything by Handel.
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To every thing there is a season, and a time to every purpose under heaven.
A time to weep, and a time to laugh: a time to mourn, and a time to dance
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trained-pianist
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« Reply #3 on: 21:16:41, 02-05-2007 » |
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I think Bellini's operas when staged are not that exciting (may be I am wrong), but I love some arias.
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oliver sudden
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« Reply #4 on: 21:51:07, 02-05-2007 » |
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O mio babbino caro surely qualifies? Or those two snippets from Lakmé... and of course Au fond du temple saint! And perhaps Roxana's aria from King Roger. Let's face it, the name alone is enough to have most of us sniggering, isn't it? May I suggest an instrumental equivalent? It's even called an aria. The fourth movement ( Aria III) from Graupner's Overture in B flat major for chalumeau and strings. The most gorgeous melody tucked away in this piece by a poor old obscure composer for a poor old obscure instrument. (Reiner, I'll send you a clip... maybe you'll find it inspiring  )
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Tony Watson
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« Reply #5 on: 23:03:51, 02-05-2007 » |
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I'm not saying that Nessun Dorma from Turandot qualifies for inclusion but when it became popular as the theme music to television coverage of the World Cup in Italy and Russell Watson started singing it, I think it was Raymond Gubbay who put on a performance of the opera in the Royal Albert Hall(?) on the strength of that one aria. He also put up a clock above the stage that counted down to the song. "1 hour, 12 minutes and 3 seconds to Nessun Dorma." That sort of thing.
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Reiner Torheit
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« Reply #6 on: 07:20:33, 03-05-2007 » |
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TSAR SALTAN isn't really a staple here either, Inquisitore... in fact I don't think I have ever seen it staged? It's not in the (current) repertoire of any of the Moscow companies... I think the Mariinsky did it, but some time ago. I'm glad to see I'm not the only one interested in Gounod's neglected works, though  As a political correctness issue, I agree that we shouldn't discriminate against arias merely because they are not performed vocally, Ollie... send the clip along by all means! I'm a bit busy until Sunday, but then I'll have some time to hear new stuff... and in fact I have a month-long trip at the end of May, so I need new material for the MP3-player I know what you mean about Bellini's operas, t-p... they are often staged poorly. That's a pity, because he's an unusual talent, and I think he suffers from being eternally pigeon-holed with Donizetti (whose abilities were more variable, and had a few more "duds"). Also Bellini is often (even usually) staged as a vehicle for some prima-donna or other, which has an obvious logic, but the downsides are (i) they often refuse to rehease much, and having more clout in the theatre than the stage-director they can overrule him/her and do whatever they like (ii) often these ladies are at the wrong end of their career for the role they are singing  Neither factor is going to help achieve an interesting stage production, although in principle SONNAMBULA, BEATRICE DI TENDA, PIRATA and PURITANI should all be juicy shows. Does anyone know ZAIRA? I don't. And talking of forgotten shows laden with arias... Mercadante, anyone? |
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
- Leon Trotsky, "My Life"
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oliver sudden
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« Reply #7 on: 07:29:20, 03-05-2007 » |
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In fact I saw Sonnambula in Vienna a few years back - I was on a tour and had that evening off and the previous time I'd been in Vienna I'd just stayed in the hotel room arguing with my girlfriend so I was determined to see an opera at the Staatsoper whoever wrote it. (Well, almost whoever.)
Fantastic performance it was too. The tenor was a certain Juan Diego Florez. He was rather good.
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Parsifal1882
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« Reply #8 on: 12:11:01, 03-05-2007 » |
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Re Meyerbeer, Ines's 'Addio' from L'africana is a charming aria, though not by the title role!
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Il duolo della terra nel chiostro ancor ci segue, solo del cor la guerra in ciel si calmera! E la voce di Carlo! E Carlo Quinto! Mio padre! O ciel!
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harpy128
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« Reply #9 on: 13:11:43, 03-05-2007 » |
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What about "Ruhe Sanft" from Zaide? That did get staged last year; might have been a mistake though  Hello Parsifal! |
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Soundwave
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« Reply #10 on: 14:18:56, 03-05-2007 » |
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Ho! I agree about "Inspirez-moi, race divine!’ (Gounod’s La Reine de Saba). It's pretty good powerful stuff. I always found it very satisfying to sing, as well as Vladimir's aria from Prince Igor, another interesting and attractive aria. Also from Prince Igor, Konchakovna's unusual and beautiful aria. May I also mention Levko's aria from Rimsky's "May Night". Bizet's "Djamileh" has a lovely mezzo aria "Nour-Eddin, Roi de Lahore". "Zastilhou Gazelou" from Dvorak's "Armide" is a bad case of neglect of an attractive aria. There are many, many more that really do deserve to be heard instead of the twenty to thirty that are always before us.
Cheers.
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Ho! I may be old yet I am still lusty
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Parsifal1882
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« Reply #11 on: 14:59:16, 03-05-2007 » |
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Hello, harpy and soundwave!
Rienzi's Act 5 prayer?
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Il duolo della terra nel chiostro ancor ci segue, solo del cor la guerra in ciel si calmera! E la voce di Carlo! E Carlo Quinto! Mio padre! O ciel!
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Parsifal1882
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« Reply #13 on: 16:51:47, 03-05-2007 » |
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Yes, I have the Volker, which is my favourite historical recording of the aria. I don't know if he recorded the opera complete (or, rather, abridged!).
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Il duolo della terra nel chiostro ancor ci segue, solo del cor la guerra in ciel si calmera! E la voce di Carlo! E Carlo Quinto! Mio padre! O ciel!
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ernani
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« Reply #14 on: 17:16:35, 03-05-2007 » |
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I've a recording of Ivan Kozlovsky singing obscure arias from Russian operas and the one that always stands out is the tenor aria from Dubrovsky by Napravnik - just gorgeous.
PS Volker didn't record Rienzi as far as I know, but there are live extracts of him singing it at the Vienna State Opera in the 30s, although they are hard to get hold of.
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