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Il Grande Inquisitor
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« Reply #450 on: 13:49:39, 12-04-2008 » |
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Semiramide?
As well as the Mosè in Egitto CD, there is a very good DVD of the French version, Moïse et Pharaon, ou Le passage de la Mer Rouge, from the La Scala company conducted by Riccardo Muti you might want to try and see.
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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 #451 on: 13:56:50, 12-04-2008 » |
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Semiramide it was.
I think we are drying up on mothers. If someone wants to start another question, go ahead.
O and Lady Sangazure, Iolanthe and the Duchess of Plaza Toro were my three Gilbertian mothers.
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« Last Edit: 18:47:49, 12-04-2008 by Don Basilio »
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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 #452 on: 14:10:58, 12-04-2008 » |
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O and Lady Sangazure, Iolanthe and the Duchess of Plaza Toro were my three Gilbertian mothers.
Now, I wouldn't have got those three, Don! Gilbert and Sullivan is an area of the reportoire I have yet to explore and when I'm feeling flush one of these days, I'll get the Malcolm Sargent EMI box and get to know them! A silly question occurred to me the other day, but it's very limited, in that I can only think of three operas which qualify (doubtless others will be able to add more), so treat this as a quickie: In which operas do the title characters (or those mentioned in the title) not actually appear?! |
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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 #453 on: 14:25:32, 12-04-2008 » |
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Cilea's L'arlesiana, for one  |
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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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Reiner Torheit
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« Reply #454 on: 14:27:51, 12-04-2008 » |
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Henze's DER JUNGE LORD, for another.
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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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George Garnett
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« Reply #455 on: 14:40:26, 12-04-2008 » |
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LULU for another. She's never come on to sing 'Shout!' when I've been along to see it. Just a load of opera singers warbling and screeching away for three hours  |
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Reiner Torheit
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« Reply #456 on: 14:48:20, 12-04-2008 » |
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LULU for another. She's never come on to
I wonder if anyone has ever accidentally bought a ticket to.... expecting, err... ? As in Thurber's THE MACBETH MURDER MYSTERY? I was still at ENO when Harewood retired, and his farewell gala was titled "Goodbye, George!". The box-office received several interested enquiries wondering if this was the sequel or prequel to SUNDAY IN THE PARK WITH GEORGE... |
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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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perfect wagnerite
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« Reply #457 on: 15:09:40, 12-04-2008 » |
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I wonder if anyone has ever accidentally bought a ticket to.... expecting, err... ? As in Thurber's THE MACBETH MURDER MYSTERY?
I did once hear a story about two little old ladies turning up to The Mask of Orpheus at the ENO expecting Orpheus and the Underworld. But it's probably too good to be true. |
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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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Reiner Torheit
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« Reply #458 on: 15:26:52, 12-04-2008 » |
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In connection with LULU (although nothing to do with the veteran Dame of pop) I was at Helikon-Opera in Moscow waiting for it this opera to begin, and had already taken my seat 10 minutes prior. A jolly-faced man with female companion parked themselves next to me, and asked if they might take a squint at my programme? While his friend read it, the man - clearly the merrier for several shots of sauce - told me that he worked for Moscow City Council, who got free tickets for the opera since the Council were sponsors. "I love opera, me!", he said, "LA-la-da-la-la-PAH-PAH! PAH-PAH! PAH-PAH!" singing something out of Offenbach or Lehar. "Actually, this is the first opera I've been to!" he confided. "What's it about?". I got as far as telling him about Lulu's first husband having his head chopped off, but he lost interest in the plot after that. Luckily we were on the end of a row, so they could slip out quite easily after about 20 minutes. It was a pity, really - if he'd been given tickets for another show, he might have liked it   ![]() Dmitry Ovchinnikov/Schigolch, Tatiana Kuinji/Lulu |
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« Last Edit: 15:29:13, 12-04-2008 by Reiner Torheit »
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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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Reiner Torheit
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« Reply #459 on: 12:30:05, 13-04-2008 » |
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Having done Mums, and with all due deference to Philip Larkin, let's do Dads?
And in particular Larkin-like Dads who stand in the way of their offspring's hopes and plans?
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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 #460 on: 12:56:13, 13-04-2008 » |
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Wotan rather gets in the way of Siegmund's plans...and Sieglinde's...and Brunnhilde's...and Siegfried, his grandson, for good measure.
Giorgio Germont tries to put a stop to his son's relationship with Violetta in La Traviata.
Jacopo Fiesco has kept his daughter, Maria, locked up away from Simon Boccanegra.
Philip II rather gets in the way of Don Carlos' plans by marrying his son's intended!
It's a while since Forza appeared in the quiz, but here it is! The Marchese di Calatrava interrupts his daughter's elopement with Don Alvaro and gets himself, accidentally, killed!
Amonasro uses emotional blackmail to try and force Aida to get tactical information out of Radames, causing the latter's arrest and death.
In Falstaff, Ford tries to stop his daughter from seeing Fenton and tries to marry her off to Dr Caius.
More later, I suspect...
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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 #461 on: 13:09:24, 13-04-2008 » |
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Cenerentola's father not only stops her going to the ball, but tells the Prince she is already dead.
Captain Corcoran objects to Josephine marrying a simple sailor, the Duke of Plaza Toro insisits on his daughter making good her marriage when she loves another, the Mikardo wants his son to marry a most unattractive old thing with a caricature of a face... but I think it best to escew G & S. It is unfair on IGI, and I still have the lurking suspicion they are Not Real Operas.
Pogner in Meistersinger seems quite a sweet old thing, but he is prepared for his daughter to marry to a slimeball like Beckmesser.
Titurel in Parsifal doesn't mess up Amfortas per se, but he must make life far more tormented for that particular unhappy bunny than it already is.
Idomeneo has inadvertently condemned his son to death.
Norma's old man doesn't do anything in particular, but her life has been dominated by the need to keep him unaware of the existence of her kids. Highly improbable, and the only fault with that wonderful work.
Can't think of any in Britten or Janacek. Is that significant?
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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 #462 on: 13:12:41, 13-04-2008 » |
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Captain Corcoran objects to Josephine marrying a simple sailor, the Duke of Plaza Toro insisits on his daughter making good her marriage when she loves another, the Mikardo wants his son to marry a most unattractive old thing with a caricature of a face... but I think it best to escew G & S. It is unfair on IGI, and I still have the lurking suspicion they are Not Real Operas.
No, do go ahead. I'm here to learn!  Dr Bartolo, in Il Barbiere, tries to marry Rosina (his ward, rather than his daughter), and stop Almaviva. In Gounod’s Roméo et Juliette, Capulet tries to force his daughter into marrying Paris, whilst in Bellini’s take on the tale, Capellio promises Giulietta to Tebaldo. In Tchaikovsky’s Mazeppa, Kochubey is appalled that his daughter, Maria, wants to marry the aged hetman. |
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« Last Edit: 13:16:29, 13-04-2008 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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Reiner Torheit
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« Reply #463 on: 13:30:05, 13-04-2008 » |
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In a scene that portrays both a "good dad" and "bad 'un", a Russian nobleman refuses to admit his son's lover, who has come (along with her father) to seek an audience with him... on the grounds that their family isn't good enough for his....?
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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 #464 on: 13:35:28, 13-04-2008 » |
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In a scene that portrays both a "good dad" and "bad 'un", a Russian nobleman refuses to admit his son's lover, who has come (along with her father) to seek an audience with him... on the grounds that their family isn't good enough for his....?
Sounds like old Nikolai Bolkonsky in Prokofiev's War and Peace, when Andrei brings Natasha and her father, Count Rostov, to the Bolkonsky palace. In The Bartered Bride, Krušina, who is in debt to Mícha, is forcing his daughter, Mařenka, to marry Mícha's son, Vašek. Brabantio becomes Elmiro in Rossini's Otello (Desdemona's dad doesn't appear in Verdi's opera) and tries to force his daughter into marrying Rodrigo rather than Otello. It's all going to end badly, you feel... |
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« Last Edit: 13:46:43, 13-04-2008 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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