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Il Grande Inquisitor
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« Reply #360 on: 16:16:08, 05-04-2008 » |
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Staying in the East, Varlaam has a drinking song in Boris Godunov, all about about the slaughter at Kazan!
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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 #361 on: 17:42:11, 05-04-2008 » |
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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 #362 on: 17:52:06, 05-04-2008 » |
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I had a feeling you'd come to the rescue with that one, Ruth!
It was, of course, Ô vin, dissipe la tristesse, the drinking song in Ambroise Thomas' Hamlet, sung by Operacat's favourite singer, Thomas Hampson.
Other singers featured:
1. Der Freischütz: Matti Salminen as Kaspar
2. Otello: Sergei Leiferkus as Iago
4. Die Entführung: Kurt Moll and Harald Neukirch as Osmin and Pedrillo
5. Lucrezia Borgia: Marilyn Horne as Orsini
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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 #363 on: 18:49:59, 05-04-2008 » |
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I refer the Honourable Gentleman to the answer I gave earlier... SOROCHINSKY FAIR starts (and ends, sort-of) with a chorus in praise of beer. And a clue I gave earlier - Elviro in SERSE/Xerxes has a Hymn to Bacchus which he sings in a rainstorm that ends with the collapse of the Bridge Over the Hellespont. Since I haven't bored you with him for several weeks, Stephen Storace's THE SIEGE OF BELGRADE has an Act II Finale "We'll raise our cups!", and THE CHEROKEE has a song for Jack Average (no, he really is called that...) "A man must have his pipe & bowl". While many of the drinking songs have a jolly or positive connotation, one that shows the dark side of the demon drink is This Is The Life from LOVE LIFE (Kurt Weill) - Sam Cooper has run out on his wife and kids, and is holed-up in a hotel with a bottle of whisky as his only companion. He tries to order a room-service supper, ("Bring me shrimp! And steak! Make it medium-well/ And the richest dessert in the whole hotel/ But speed is important, bring it on the run/ What's that? Yes, You heard me!/ Dinner for ONE!"), flirts with the idea of phoning for a call-girl, but his guilty conscience and several glasses of whisky end up with him passing out on the floor clutching a photograph of his family instead. Stupendous music-theatre  |
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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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martle
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« Reply #364 on: 18:58:36, 05-04-2008 » |
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This Is The Life from LOVE LIFE (Kurt Weill) Reiner, that was played on R3 some weeks ago. I thought it was just fantastic, really sensitive, but darkly funny too. It's quite an extended song for that kind of music theatre as well, isn't it - made me resolve to hunt down a recording. |
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Green. Always green.
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MabelJane
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« Reply #365 on: 23:55:01, 05-04-2008 » |
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This Is The Life from LOVE LIFE (Kurt Weill) Reiner, that was played on R3 some weeks ago. I thought it was just fantastic, really sensitive, but darkly funny too. It's quite an extended song for that kind of music theatre as well, isn't it - made me resolve to hunt down a recording. Ooh yes, I rememember hearing that martle - in fact I can picture exactly which road I was driving along as I listened! Probably In Tune...I've a feeling it was live. I'm searching back through the In Tune playlists - just come across this: Weill: The Berlin Requiem: Ballad of the drowning girl & Marterl (Grabschrift) Are you a good swimmer? |
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Merely corroborative detail, intended to give artistic verisimilitude to an otherwise bald and unconvincing narrative.
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Reiner Torheit
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« Reply #366 on: 09:50:20, 06-04-2008 » |
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Reiner, that was played on R3 some weeks ago. I thought it was just fantastic, really sensitive, but darkly funny too. It's quite an extended song for that kind of music theatre as well, isn't it - made me resolve to hunt down a recording.
Yeah, it runs for about 11 minutes, it's really a scena. There's a whole-tone descending scale in the middle which is a terrible crib from MADAM BUTTERFLY  In included it in a show I did two years ago... we did Ullmann's THE EMPEROR OF ATLANTIS, but since it runs for only 70 minutes we needed a "makeweight", so we did a revue-style presentation of "unknown Weill". |
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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 #367 on: 16:07:35, 06-04-2008 » |
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Just remembered the breeches mezzo has a jolly brindisi in Rossini's La gazza ladra to welcome home the tenor, one of the most ineffective tenors in the repertory.
The tavern scene in La forza del destino is a compendium of pretty well every other operatic cliche (peddlar's song, gipsy's song, pilgrims' prayer) that I feel it ought to have a drinking song, but I can't remember 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 #368 on: 20:48:38, 06-04-2008 » |
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The tavern scene in Forza has a few Hola!s, but not really a drinking song, sadly. Five operatic storms for you to identify, mostly pretty easy, then tell us about others storms in opera: Storm 1Storm 2Storm 3Storm 4Storm 5 |
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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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perfect wagnerite
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« Reply #369 on: 21:16:28, 06-04-2008 » |
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My newly-installed firewall is doing its best to stop me from getting at these files but:
No 3 - Peter Grimes
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« Last Edit: 21:20:42, 06-04-2008 by perfect wagnerite »
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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 #370 on: 21:17:53, 06-04-2008 » |
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My newly-installed firewall is doing its best to stop me from getting at these files but:
No 3 - Peter Grimes
Correct! It couldn't really be anyone but Britten, could it? No.1 might cause some head-scratching... |
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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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perfect wagnerite
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« Reply #371 on: 21:21:00, 06-04-2008 » |
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No 5 - Macbeth
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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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perfect wagnerite
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« Reply #372 on: 21:23:39, 06-04-2008 » |
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No.1 might cause some head-scratching...
No 1 sounds awfully like Weber, but could also be Marschner - I'd hazard a guess at Der Vampyr but it's a while since I heard it. |
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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 #373 on: 21:25:14, 06-04-2008 » |
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No.5 is indeed Verdi's Macbeth, with the witches on the blasted heath.
No.1 is neither Weber nor Marschner, I'm afraid.
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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 #374 on: 21:27:32, 06-04-2008 » |
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Weber was my first thought for No 1 as well.
Hmm. Itchy scalp time.
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