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Reiner Torheit
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« Reply #30 on: 20:48:39, 14-05-2007 » |
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the original title of the opera was to be Ivan Susanin, after the hero, but when Nicholas I attended a rehearsal, Glinka changed the title to A Life for the Tsar as a monarchy-pleasing gesture.
Nearly there, but one opera trivia detail missing, which I shall reveal since I, at least, am within 20 minutes of Monday drawing to a close. Yes, it was originally to be called IVAN SUSANIN and that title appeared at the head of Glinka's score. However, requiring a Royal Patent to allow the work to be performed (only works in French or Italian were usual at the time), Glinka did indeed seek to inveigle himself with His Majesty. The title of the opera would show the level of devotion to the Monarchy of the Russian people. (Bear in mind that just 11 years earlier Tsar Nicholas I had faced an armed rebellion against his accession to the throne from the "Decembrist" Association of Patriotic Officers, who believed he was a tyrant, and that his brother should be crowned in his place. So he had some severe worries on the PR score...). So Glinka titled the work: "A Death For The Tsar".Nicholas was flattered, but appalled - it sounded as though the Tsar was causing people to die? This did little for his already-sagging popularity. So either His Serenity, or one of his Chamberlaines, made the witty suggestion that a death was the matter of one day - but anyone would be pleased to serve his whole life for His Majesty. So the title "A Life For The Tsar" was adopted, on Royal recommendation.  |
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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 #31 on: 20:52:05, 14-05-2007 » |
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Well you learn something new every day. I'm not surprised that Nicholas I wanted it altered!
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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 #32 on: 21:05:29, 14-05-2007 » |
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I rather suspect Glinka would have accepted pretty-much any title, if it secured him a performance  |
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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 #33 on: 07:06:03, 17-05-2007 » |
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Here's a question prompted by discussion on the Clemenza thread: most beautiful ensemble? Trio? Quartet? Larger ensemble? I'll post some thoughts later. |
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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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Parsifal1882
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« Reply #34 on: 08:06:27, 17-05-2007 » |
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Can I go first?  Trio: GOTTERDAMMERUNG (Act 2); ORY (Act 2); GIOVANNI (Act 1); TROVATORE (Act 1) Quartet: DON CARLO (Act 3) Quintet: MEISTERSINGER (Act 3); COSI (Act 1) Sextet: COSI (Act 1); FIGARO (Act 3); VIAGGIO A REIMS Septet: GIOVANNI (Act 1) Octet: CAPRICCIO Ensemble for 14 voices (the largest ever?): VIAGGIO Ensemble with chorus: TANNHAUSER (Act 2); TRAVIATA (Act 2); MEISTERSINGER (Act 2) |
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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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Tony Watson
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« Reply #35 on: 08:07:23, 17-05-2007 » |
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Most beautiful trio? Not a very original thought, I'm afraid, but "Soave sia il Vento" from Cosi Fan Tutte.
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Parsifal1882
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« Reply #36 on: 08:09:18, 17-05-2007 » |
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Morning, Tony! I bet your favourite sextet is the LUCIA |
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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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Tony Watson
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« Reply #37 on: 08:12:15, 17-05-2007 » |
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And a good morning to you, Parsifal! That's going to be in my head all morning now at work. |
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Reiner Torheit
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« Reply #38 on: 08:57:31, 17-05-2007 » |
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Favourite trio - Suzuki/Sharpless/Pinkerton.
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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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Parsifal1882
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« Reply #39 on: 09:02:50, 17-05-2007 » |
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Morning, RT! How long is this trio? |
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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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Don Basilio
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« Reply #40 on: 10:33:47, 17-05-2007 » |
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Most beautiful trio? Not a very original thought, I'm afraid, but "Soave sia il Vento" from Cosi Fan Tutte.
Not very original of me, either, Tony, but that's what I thought as soon as I saw the question. |
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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 #41 on: 10:39:15, 17-05-2007 » |
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I've had a further thought. Though Soave sia il vento is unbeatable for sheer beauty, the trio O nume benefice in Thieving Magpie is very lovely and fits a seat-gripping situation.
For a trio with dramatic power, frankly you can't beat the Act I finale of Norma.
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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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Reiner Torheit
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« Reply #42 on: 13:20:30, 17-05-2007 » |
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Morning, RT! How long is this trio? Good question, and what key it's in is another moveable feast |
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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 #43 on: 19:25:18, 17-05-2007 » |
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For beauty, other than the predictable Così trio and the trio at the end of Rosenkavalier, I’d add the final trio in La Forza between the dying Leonora, Alvaro and Padre Guardiano and the trio in Simon Boccanegra when he reveals to Gabriele Adorno that fat from being Amelia’s lover, he’s her father. Gabriele begs for forgiveness, Amelia prays to her mother for protection and the Doge hopes that peace will eventually come to his city.
Quartets – I’d second Parsifal’s suggestion of the Don Carlos quartet between Philip, Eboli, Posa and Elisabetta, all expressing their different emotions at a pivotal point in the drama.
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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 #44 on: 20:18:02, 17-05-2007 » |
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fat from being Amelia’s lover Casting suggestions for this particular production concept are welcomed |
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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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