Reiner Torheit
|
|
« Reply #390 on: 13:03:35, 07-04-2008 » |
|
Not much of a storm amongst these caravans on the blasted heath, but No.5 was from the beginning of Verdi's Macbeth!! Ah, so that's what it looked like with three caravans
|
|
|
Logged
|
"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"
|
|
|
Reiner Torheit
|
|
« Reply #391 on: 13:18:25, 07-04-2008 » |
|
Gilda's murdered in the middle of a storm (complete with off-stage chorus impersonating the wind)
There's an electric storm going on during most of HELP! HELP! THE GLOBOLINKS! and Emily - who shows herself a lot braver than the grown-ups - gets caught in it... where she encounters her former School Principal (who has now been turned into a Globolink). (The plot is largely a spoof of DAY OF THE TRIFFIDS).
And our old friend Elviro (whom I'm now playing for the third time in a row, for extra points) from SERSE gets caught in a rainstorm which brings down the newly-built bridge... and he runs off in case anyone thinks that he was responsible.
Both BARBIEREs - Rossini & Paisiello - have thunderstorms.
At the end of OSUD, the students are rehearsing Zivny's new opera when a huge electrical storm begins outside. Zivny goes out onto the balcony, where he has a vision of his wife Mila (who had been killed falling from a balcony in a domestic incident several years previously). One of the students suggests that this could be the end of the autobiographical opera, which Zivny has failed to complete with only days left to the premiere. Zivny responds angrily that the end of the opera lies in the hands of God. Zivny is struck by lightning and dies - the opera remains unfinished.
|
|
|
Logged
|
"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"
|
|
|
Il Grande Inquisitor
|
|
« Reply #392 on: 23:10:56, 07-04-2008 » |
|
Further clues to Storms 1 and 4. 1 is from a French opera most famous for a duet. 4 is from a Russian opera recently sited for a transformation of one of the characters.
|
|
|
Logged
|
Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
|
|
|
Tony Watson
Guest
|
|
« Reply #393 on: 23:19:53, 07-04-2008 » |
|
Is 1 from Bizet's The Pearl Fishers (Les Pêcheurs de Perles)?
|
|
|
Logged
|
|
|
|
Il Grande Inquisitor
|
|
« Reply #394 on: 23:23:09, 07-04-2008 » |
|
Yes, Tony. It's at the start of Act III just before Zurga's great aria.
|
|
|
Logged
|
Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
|
|
|
Ruth Elleson
|
|
« Reply #395 on: 08:52:52, 08-04-2008 » |
|
I still haven't actually had the opportunity to listen to any of the storm clips - but your clue alone leads me to make a guess of Sadko for number 4...
|
|
|
Logged
|
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!
|
|
|
Il Grande Inquisitor
|
|
« Reply #396 on: 14:21:44, 08-04-2008 » |
|
Yes, indeed, Ruth. Sadko, at his underwater wedding to the Princess Volkhova, plays for the Tsar of the Sea. All the guests join in, causing a mighty storm in which ships are wrecked! Any other operatic storms of note?
|
|
« Last Edit: 14:23:36, 08-04-2008 by Il Grande Inquisitor »
|
Logged
|
Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
|
|
|
Don Basilio
|
|
« Reply #397 on: 17:28:18, 08-04-2008 » |
|
I don't know Meyerbeer's L'africaine, but I believe there is a ship board scene which must surely get wrecked in order to display the Opera's stage craft.
George mentioned the one in Kat'a as a possible musical example. pw reeled off loads. There's a storm outside in La fanciulla, I believe, which may have been mentioned. I remember a very funny performance of it by the dear old Gran Scena Opera Company with the cliche of snow swirling in whenever the door was opened. (A conceit used to great effect in Grimes.)
|
|
|
Logged
|
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
|
|
|
Il Grande Inquisitor
|
|
« Reply #398 on: 17:38:04, 08-04-2008 » |
|
I don't know Meyerbeer's L'africaine, but I believe there is a ship board scene which must surely get wrecked in order to display the Opera's stage craft.
Yes, there's a storm in Act III which wrecks Vasco da Gama's ship. Good opera - there's a video/DVD of a production with Shirley Verrett and Placido Domingo - but could do with a new CD recording. There's a storm in the last act of Aroldo, Verdi's rewriting of Stiffelio. I don't think anyone's mentioned the storm at the start of Der Fliegende Holländer, yet.
|
|
|
Logged
|
Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
|
|
|
George Garnett
|
|
« Reply #399 on: 17:51:51, 08-04-2008 » |
|
I know someone MUST have mentioned it but I can't find it by trawling back over the last few pages:
Berlioz: Royal Hunt and Storm in The Trojans
And I can't resist dragging out again (it's been ages) my old Quiz Answer Favourite David Blake: The Plumber's Gift which has a pastiche of the storm scene in Peter Grimes with a seaside landlady forever closing the front door of her B&B to a burst of Britten when a new guest fails to close it properly against the gale blowing along the promenade (well, it made me larf at the time; perhaps you had to be there).
And Gershwin: Porgy and Bess?
|
|
« Last Edit: 17:54:53, 08-04-2008 by George Garnett »
|
Logged
|
|
|
|
Il Grande Inquisitor
|
|
« Reply #400 on: 17:54:48, 08-04-2008 » |
|
I know someone MUST have mentioned it but I can't find it by trawling back over the last few pages:
Berlioz: Royal Hunt and Storm in The Trojans
It hasn't been mentioned at all, George, though it was very nearly Storm 4 amongst the soundclips, but I thought that would be another one that would prove too easy with the Britten and Verdi!
|
|
|
Logged
|
Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
|
|
|
Don Basilio
|
|
« Reply #401 on: 18:38:12, 09-04-2008 » |
|
If we've run out of storms, I have another possibility. I'll wait for some more storms to pass.
|
|
|
Logged
|
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
|
|
|
Don Basilio
|
|
« Reply #402 on: 21:11:16, 09-04-2008 » |
|
OK here goes.
I was thinking a lot about the Savoy operas, and I noticed that they all (except Patience and Trial by Jury) have fathers, or at least a chorus of the ghosts of male ancestors, which comes to the same thing.
But I only noticed three mothers with their children.
I wondered whether is this another example of Gilbert's odd views of women, or is it typical of C19 opera.
So to check it out, can you think of mothers in operas?
Are they mumsy or scary?
Are some of them sopranos, or even coloratura sopranos, rather then the usual mezzo/ contralto?
|
|
|
Logged
|
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
|
|
|
Reiner Torheit
|
|
« Reply #403 on: 21:24:51, 09-04-2008 » |
|
Tchaikovsky's MAZEPPA has a nice mother/daughter dysfunctional relationship, and although Lyubov Kochubey is definitely of the "old dragon" type of mezzo, asking her daughter if she's please cooperate in saving their husband's/father's (respectively) life doesn't seem too outlandish?
Mila Valkova's mother (she doesn't ever seem to have a name of her own) in OSUD is the nightmare mother-in-law from hell, finally jumping over a balcony and dragging her own daughter with her to their death, merely to spite a man she considers an inappropriate son-in-law?
Cio-Cio-San is a mother.
|
|
|
Logged
|
"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"
|
|
|
perfect wagnerite
|
|
« Reply #404 on: 21:52:27, 09-04-2008 » |
|
Some more operatic mothers.
Norma: has two children by Pollione in defiance of her vow of chastity as a Druid priestess (how she managed to keep up appearances is not made clear). She entrusts them to the care of her father before submitting herself to the pyre. She gives every appearance of being a mumsy rather than a scary mother.
Azucena: definitely scary, and deranged by the fact that she has thrown her own son, rather than the infant Count of Luna, into the fire.
Queen of the Night: definitely a scary mother, and a coloratura soprano to boot.
Marcellina: a mezzo, and a comic mother, although Beaumarchais' original was a much more substantial character who has a great feminist speech about the way the world treats older women.
Gaea: Daphne's mother. Serene and contralto
Mrs Herring: another mezzo mother, overbearing rather than scary, whose bombast is punctured when A Big White Something is found in the well.
The Madwoman in Curlew River: the only tenor mother on the roster.
The Kabanicha in Kat'a Kabanova. Soprano and a scary bigot.
A passing appearance is made by the ghost of Max's mother in the Wolf's Glen scene in Freischutz, who tries vainly (if mutely) to warn him off playing at potions with Kaspar.
|
|
|
Logged
|
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)
|
|
|
|