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Ruth Elleson
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« Reply #270 on: 01:15:35, 31-03-2008 » |
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Are we ruling out Alberich (twice) and Fafner in 'Das Rheingold' for being too obvious, or have I misunderstood the question, IGI?
Surely there's more work for the tarnhelm to do? Of course... Siegfried into Gunther... |
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Oft hat ein Seufzer, deiner Harf' entflossen,
Ein süßer, heiliger Akkord von dir
Den Himmel beßrer Zeiten mir erschlossen,
Du holde Kunst, ich danke dir dafür!
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Don Basilio
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« Reply #271 on: 12:29:28, 31-03-2008 » |
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While I'm on, does Rossini: La Cerentola count? I don't know it but if it doesn't have rats turning into ponies I'd be very disappointed.
Certainly doesn't, I'm sorry to say. The Fairy Godmother is replaced by a (bass) philosopher, the Prince's tutor. That's the Enlightenment for you. Not even a glass slipper - Cenerentola loses her bracelet. Not my favourite Rossini. |
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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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Don Basilio
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« Reply #272 on: 12:53:38, 31-03-2008 » |
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Aren't Handel operas on another thread at the moment?
Very true, strina. One character is Handelian, the other is not, but the composer has featured already in answer to the question on transformations... Well, strictly Acis and Galatea is not an opera, but Acis certainly end up as a stream. I remember our music master at school explaining this meant Galatea could bath in him in future whenever she liked. "And it gets very hot in Sicily," the dirty old man added with leer. |
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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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strinasacchi
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« Reply #273 on: 13:24:56, 31-03-2008 » |
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The earlier Italian version (Aci Galatea e Polifemo) is an opera though, isn't it?
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Ruth Elleson
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« Reply #274 on: 15:45:42, 31-03-2008 » |
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No - Aci, Galatea e Polifemo is a "dramatic cantata".
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Oft hat ein Seufzer, deiner Harf' entflossen,
Ein süßer, heiliger Akkord von dir
Den Himmel beßrer Zeiten mir erschlossen,
Du holde Kunst, ich danke dir dafür!
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Don Basilio
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« Reply #275 on: 17:23:47, 31-03-2008 » |
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Yes, but who is the other stream transformation? It must be baroque, mustn't it?
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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 #276 on: 19:36:26, 31-03-2008 » |
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Yes, but who is the other stream transformation? It must be baroque, mustn't it?
Nope. It's a Russian character (female). |
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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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George Garnett
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« Reply #277 on: 19:59:38, 31-03-2008 » |
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Are we back with Rimsky-Korsakov again? The Snow Maiden?
She melts, poor thing, but then that's what snow maidens do when warmed by the sun so, strictly speaking I suppose, she doesn't turn into something else but remains a bona fide snow maiden throughout.
(P.S. I'm also starting to get worried about doing this quiz after the Supper Interval. Shouldn't it be during it? Or do I just worry too much?)
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« Last Edit: 20:05:07, 31-03-2008 by George Garnett »
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Il Grande Inquisitor
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« Reply #278 on: 20:22:27, 31-03-2008 » |
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It's not the Snow Maiden, but you do have the correct composer, George. (and it's a river she turns into rather than a stream)
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« Last Edit: 20:33:03, 31-03-2008 by Il Grande Inquisitor »
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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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Ruth Elleson
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« Reply #279 on: 22:46:32, 31-03-2008 » |
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That would be Princess Volkhova in Sadko  |
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Oft hat ein Seufzer, deiner Harf' entflossen,
Ein süßer, heiliger Akkord von dir
Den Himmel beßrer Zeiten mir erschlossen,
Du holde Kunst, ich danke dir dafür!
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Il Grande Inquisitor
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« Reply #280 on: 23:07:14, 31-03-2008 » |
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That would be Princess Volkhova in Sadko Correct, Ruth, and here is the river she turned into:  The Volkhov flows out of Lake Ilmen, where the story of Sadko begins. |
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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 #281 on: 09:08:41, 01-04-2008 » |
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The Volkhov flows out of Lake Ilmen, where the story of Sadko begins.
Since I've been to that very spot at least a dozen times (moreover staying in the Sadko Hotel on most of my visits), I ought to have known that  |
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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 #282 on: 21:41:36, 01-04-2008 » |
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Follwing on hh's suggestion, which characters put on disguises in opera and how credible are they?!! For example, surely Mime must think something's a bit fishy when a complete stranger wearing an eyepatch turns up and starts playing 'twenty questions' with him in Act I of Siegfried?!!  |
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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 #283 on: 21:59:03, 01-04-2008 » |
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Falstaff as Herne the Hunter in both Verdi and RVW.
Does the Duke in Rigoletto count? He is not dressed up, but pretends to be a humble student.
Some princess in Handel's Partenope disguised herself as a bloke to have her cover blown when she offers to fight a combat to have it explained that the ground rules require her to fight topless.
The hero and two chums in Princess Ida get into Ida's feminist collective dressed in drag.
That's enough for now.
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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 #284 on: 22:01:00, 01-04-2008 » |
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Falstaff as Herne the Hunter in both Verdi and RVW.
Yes. Others in the same opera(s)? |
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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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