Don Basilio
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« Reply #555 on: 15:24:28, 20-04-2008 » |
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And any other Fall of Troy operas?
Errrm, surely Dido was the Queen of Carthage (Marlowe thought so, and he was a pretty smart private detective) = modern Tunisia, whereas Troy's whereabouts were (allowing for a bit of academic leeway) in present-day Anatolia? I agree the story is very similar, despite the disparity of location I do know that, reiner. What I was referring to was part 1 of Les Troyens, (which I notice nobody has bothered to defend from my lukewarm reaction.) Fall out from Troy include at least Rossini's Erminone, Mozart's Idomeneo and Monteverdi's Ulisse. Pre-Troy bits go to Gluck. (Not a composer I have ever been inspired to explore.)
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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 #556 on: 15:28:25, 20-04-2008 » |
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I do know that, reiner. What I was referring to was part 1 of Les Troyens, (which I notice nobody has bothered to defend from my lukewarm reaction.)
I was only mentioning it to lay the floor open for myself... to mention that there are/were two DIDO operas, the second being written by Stephen Storace, DIDO, QUEEN OF CARTHAGE (1794) to the Marlowe version of the story. The score was lost in a theatre fire and we no longer have a single note it - regrettable, since it was accounted his finest work by those who performed it.
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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 #557 on: 15:38:18, 20-04-2008 » |
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O, and give me Ermione any day rather than Idomeneo and Ulisse.
It is not the sort of thing that is thought of when Rossini is regularly called "sparkling." Haven't listened to it for a year.
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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 #558 on: 15:44:16, 20-04-2008 » |
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Armida and Rinaldo have been the subject of operas by Lully (Armide, 1686), Handel (Rinaldo, 1711), Salieri (Armida, 1771), Gluck (Armide, 1777), Jommelli (Armida abbandonata, 1770), Haydn (Armida, 1784), Dvořák (Armida, 1904) and Rossini (Armida, 1817). The Rossini is sitting on the desk in front of me in a performance featuring Cecilia Gasdia, Chris Merritt, Bruce Ford, William Matteuzzi and Ferruccio Furlanetto...not a bad line-up at all.
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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 #559 on: 15:09:13, 21-04-2008 » |
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More operas based on the same plot/ source, but only in pairs this time:
Puccini and Leoncavallo: La bohème - I have heard the Leoncavallo version as well and understand that it is more closely based on La Vie de Bohème by Henri Murger than Puccini's is. Anyone going to stand up for the Leoncavallo? Not as a preference over the Puccini as a whole, no, but I like the Leoncavallo version's lack of sentimentality. I posted in some detail about this opera in these parts before... I wonder whether I can find the post in question to save me saying all the same things again? Here you go http://r3ok.myforum365.com/index.php?topic=2408.msg84318#msg84318Mozart and Gazzaniga: Don Giovanni (although I suppose we could add Dargomyzhsky's The Stone Guest, based on the Pushkin drama written after he saw the Mozart opera). Paisiello and Rossini: Il Barbiere di Siviglia Anyone know the Gazzaniga or Paisiello? Worth hearing? It has a bigger cast, a quarter of the humour and a tiny fraction of the inspiration. (The opening to a review of the Gazzaniga, comparing it to the Mozart... ) I have been to a performance of the Gazzaniga. The quoted review is quite true, though it contains some very attractive music. The performance in question was one of Bampton Classical Opera's annual visits to St John's Smith Square in London. Bampton's a great little company which makes a point of addressing little-known settings of well-known opera plots. They have done the Paisiello Barber too, though I didn't see it, as well as Benda's Romeo and Juliet and Salieri's Falstaff. This year, in the same vein, they are doing Paer's Leonora, ossia l'amor conjugale (in London on 16th September)...
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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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MabelJane
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« Reply #560 on: 22:39:59, 21-04-2008 » |
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Not as a preference over the Puccini as a whole, no, but I like the Leoncavallo version's lack of sentimentality. I posted in some detail about this opera in these parts before... I wonder whether I can find the post in question to save me saying all the same things again? Here you go http://r3ok.myforum365.com/index.php?topic=2408.msg84318#msg84318Neither composer set Murger's devastating ending faithfully - it wouldn't have made good stage drama - but Leoncavallo comes by far the closest. I've just been reading synopses of Leoncavallo's version, Ruth. What was Murger's "devastating ending"?
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Merely corroborative detail, intended to give artistic verisimilitude to an otherwise bald and unconvincing narrative.
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Ruth Elleson
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« Reply #561 on: 00:04:25, 22-04-2008 » |
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In the Murger, Mimi turns up on Rodolphe's doorstep seriously ill; a couple of days later she is sent to hospital. The lads visit her a couple of times, then one day they hear second hand that she has died. Some days later, it turns out that they have been misinformed, and that she had been moved to another ward, subsequent to which the next occupant of the bed had died, hence the confusion. The boys of course hot-foot it to the hospital to see her, only to discover that now she really has died (earlier the same day), all the while believing she has been abandoned by all her friends The Murger novel seems to be out of print in English - I have it in French, which I can't read very well but managed to find it in English in the university library while at York. Much of it is laugh-out-loud funny, but my goodness, you've got to be prepared for the sad bits Edited to say OH MY GOODNESS, LOOK WHAT I'VE JUST FOUND: http://home.swbell.net/worchel/chap22.htmEdited AGAIN to say and here's Chapter 18, which you will recognise as the source of a great deal of the plot material for Puccini's opera, despite being a story of two characters who do not appear in the rest of the book: http://home.swbell.net/worchel/chap18.htm I have always enjoyed the description of why Francine faints on Jacques' doorstep - he's been chain-smoking noxious substances, and she - being delicate in the chest - can't cope with the fug on a cold night
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« Last Edit: 00:20:03, 22-04-2008 by Ruth Elleson »
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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 #562 on: 21:54:26, 29-04-2008 » |
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Time for a new question!
We've had characters eating food on-stage before, but I don't think we've previously had characters cooking food on stage.
Tell us a little about that, Team (mentioning what is being cooked, if possible), if you can, without repetition, deviation, or hesitation, starting...
... now.
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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 #563 on: 22:11:22, 29-04-2008 » |
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Well to start with ...
Mime's broth in Act 1 of Siegfried
The Dyer's Wife frying fish (which then start to sing - what exactly was Hofmanstahl on?) in Act 1 of Die Frau Ohne Schatten
Madame Larina and Filipevna making jam at the start of Evgeny Onegin
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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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thompson1780
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« Reply #564 on: 22:33:13, 29-04-2008 » |
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Jezibaba brews a potion in Rusalka.
Does that count
Tommo
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Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
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Reiner Torheit
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« Reply #565 on: 22:43:03, 29-04-2008 » |
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Jezibaba brews a potion in Rusalka.
Does that count
Tommo
There's a Cook (mezzo breeches role) in RUSALKA too, but I don't remember him/her cooking anything on stage...? Someone (in operetta) sings himself a lullaby as he cooks his own supper? Someone's served breakfast by his housekeeper that turns out to be an unpleasant surprise (the housekeeper has about 3 lines so we're pushing the envelope a bit - but cook indeed she does) Well done for the jam detail in Onegin!! I saw it again on Sunday evening, in a production that keeps the "jam motif" running to the very end
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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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harpy128
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« Reply #566 on: 22:52:35, 29-04-2008 » |
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Lady Macb of M's mushrooms - they get, er, seasoned on stage I think, don't know about cooked.
The cook in The Love of Three Oranges doesn't cook anything in particular either as far as I can remember (but has a very large ladle).
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HtoHe
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« Reply #567 on: 23:11:26, 29-04-2008 » |
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The witch in Hänsel und Gretel gets cooked onstage. I'm not sure if she counts as food but I believe there are productions in which she becomes a Lebkuchenhexe with the implication that she is eaten.
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Don Basilio
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« Reply #568 on: 10:47:11, 30-04-2008 » |
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Someone (in operetta) sings himself a lullaby as he cooks his own supper?
Cox or Box in Sullivan.
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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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harpy128
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« Reply #569 on: 16:32:19, 30-04-2008 » |
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The only operatic housekeeper I can think of at the moment was in Die Tote Stadt, and there were certainly some unpleasant surprises in the DVD I saw of that, but I don't remember a breakfast?
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