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Reiner Torheit
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« on: 12:23:00, 10-05-2007 » |
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Ladies & Gentlemen! The Third Bell is already sounding, and I encourage you to take your seats as quickly as possible - the Opera Quiz is about to recommence! Please make sure you have switched off your pagers and mobile phones, and then...
.... tell us about operas which begin without overtures or preludes?
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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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Don Basilio
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« Reply #1 on: 12:28:52, 10-05-2007 » |
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Falstaff.
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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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perfect wagnerite
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« Reply #2 on: 13:32:18, 10-05-2007 » |
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Boheme, Elektra, The Midsummer Marriage, Die Frau Ohne Schatten
Peter Grimes, assuming a prologue and a prelude are not the same thing ....
And all post-Wagner, dispalying perhaps an assumption that audiences are more serious and are house-trained to settle down quickly?
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At every one of these [classical] concerts in England you will find rows of weary people who are there, not because they really like classical music, but because they think they ought to like it. (Shaw, Don Juan in Hell)
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Il Grande Inquisitor
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« Reply #3 on: 20:06:25, 10-05-2007 » |
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Oh joy! It's back!
Simon Boccanegra, Otello, Il Trovatore all spring to mind for Verdi, although there was a prelude to the 1857 Boccanegra. There also exists a prelude to Otello, which Verdi wisely discarded in favour of the storm opening.
Madama Butterfly, Tosca, Andrea Chenier from Verismo operas.
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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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oliver sudden
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« Reply #4 on: 20:17:57, 10-05-2007 » |
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Salome begins with neither a prelude nor a loud noise. Wozzeck similarly. And Lulu with a prologue not a prelude. Right, that's the three operas I know out of the way with...  |
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Parsifal1882
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« Reply #5 on: 20:32:58, 10-05-2007 » |
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Thanks RT for the thread!
My first answer here: Arabella
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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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martle
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« Reply #6 on: 22:03:31, 10-05-2007 » |
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There's an interesting sub-theme to this thread already: what constitutes a 'prologue'? Otello starts with a protracted episode depicting a storm (and quite magnificent it is too). But I reckon this could, in earlier times, have been shaped as a separate 'piece' - an overture, even. As it stands, it sets up all kinds of tensions ( a million miles from the Bard's opening gambit), which resonate throughout the whole of the first scene. From what I remember, this strategy was a revised version of what V and Boito had originally intended.
Anyway, Bluebeard's Castle?
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Green. Always green.
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Il Grande Inquisitor
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« Reply #7 on: 20:36:34, 12-05-2007 » |
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After the latest Musical Connection quiz, name operas set in Venice and name which ones you think are best...
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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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roslynmuse
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« Reply #8 on: 21:27:18, 12-05-2007 » |
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Death in...
The Gondoliers (Act 1 only)
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Don Basilio
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« Reply #9 on: 22:15:07, 12-05-2007 » |
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Otello (Rossini)
Lucrezia Borgia (Prologue only)
La Gioconda
Les contes d'Hoffman (relevant Act only)
Isn't an act of Verdi's Attila set on an island in the lagoon, the future site of Venice with (I love the idea) a chorus of hermits?
Johann Strauss' A Night in Venice
I due Foscari
Wagner died there
Stravinsky is buried there (and the premiere of Rake's Progress took place there.)
I'd probably go for The Gondoliers, though I'm told the recent ENO version was definitely medium rare.
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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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Il Grande Inquisitor
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« Reply #10 on: 22:41:33, 12-05-2007 » |
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Very good so far.
The Rossini Otello is set entirely in Venice, whereas Verdi's is in Cyprus.
You're right about 'Attila' - the second scene of the Prologue
Can anyone spot the others? Works by Mascagni, Bernstein and Wolf-Ferrari...
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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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Reiner Torheit
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« Reply #11 on: 23:32:22, 12-05-2007 » |
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Isn't I Quattri Rusteghi (known in English as "School For Fathers") set in Venice? I acknowledge needing the clue about Wolf-Ferrari to remind me of it... although it's an eminently forgettable work, and I've actually seen a production of it  |
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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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roslynmuse
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« Reply #12 on: 23:54:03, 12-05-2007 » |
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First perf of Turn of the Screw there too...
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Il Grande Inquisitor
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« Reply #13 on: 11:08:02, 13-05-2007 » |
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Isn't I Quattri Rusteghi (known in English as "School For Fathers") set in Venice?
Yes, that's the one. Bernstein and Mascagni? |
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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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roslynmuse
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« Reply #14 on: 11:21:03, 13-05-2007 » |
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Bernstein - Candide?
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