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Don Basilio
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« Reply #750 on: 13:33:10, 29-07-2008 » |
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Massenet's Manon Lescaut makes her entrance all out of breath from a coach journey. Later in the scene she begins to realise the advantages of being No More Mademoiselle Demure Convent Girl, as opposed to ditzy gold digger, by persuading some nice chap she has just picked up to nick her would-be protector's coach.
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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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Ruth Elleson
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« Reply #751 on: 14:07:25, 29-07-2008 » |
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Reiner, I have a vague memory that Opera North's fairly recent production of L'occasione fa il ladro (billed as Love's Luggage Lost and performed as part of the Eight Little Greats season) used just such a setting. I'm guessing Il viaggio a Reims contains some sort of journey, too  |
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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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Don Basilio
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« Reply #752 on: 14:10:05, 29-07-2008 » |
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I'm guessing Il viaggio a Reims contains some sort of journey, too Noooo ! That's as much plot as it has. They never leave the inn because there are no coaches, or something. So they have a party just there, all the same. If Pilgrim's Progress isn't a journey, I don't know what is. |
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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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Ruth Elleson
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« Reply #753 on: 14:12:59, 29-07-2008 » |
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Ah, so rather like Flight then  but with more tunes including a few rather familiar ones... |
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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 #754 on: 14:17:39, 29-07-2008 » |
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Reiner, I have a vague memory that Opera North's fairly recent production of L'occasione fa il ladro (billed as Love's Luggage Lost and performed as part of the Eight Little Greats season) used just such a setting.
Aha, but I'd like to see it in the libretto, and not merely sellotaped on by some specky producer  ( au sujet I've recently been burning the midnight oil over Handel's libretti - I was surprised at how non-specific the stage directions are, especially for locations... "a public place", "a room", "his own house" etc) SEVEN DEADLY SINS has the two Annas criss-crossing the United States in their pursuit of the dosh to build "a little house" - but I don't think we ever see them travelling? I presume train or bus, since they're penniless. MAHAGONNY opens with Frau Begbick's car conking-out whilst on the run from the cops, and unable to take her "girls" any further. |
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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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Ruth Elleson
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« Reply #755 on: 14:25:06, 29-07-2008 » |
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Has anybody mentioned any significant journeys on horseback? Like the eight lesser Valkyries watching Brunnhilde and Sieglinde tearing through the sky towards them on Grane, with a furious Wotan in hot pursuit. Gosh, just remembering enough of that passage to type the above description has got my blood racing! There's also the Ride itself, of course.
My other favourite operatic depiction of a fast and furious horseback journey is Tarquinius's ride to Rome in The Rape of Lucretia.
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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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Ruth Elleson
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« Reply #756 on: 14:31:08, 29-07-2008 » |
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How many boat journeys are there in Tristan und Isolde? Four, I think! One in Act 1, one during the second interval (does that count? ) and two in Act 3... |
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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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Don Basilio
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« Reply #757 on: 14:32:37, 29-07-2008 » |
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Candide is always travelling around, including taking a liner to America. In the ENO prod, this was revealed just as the curtain fell on Act 1 to be called Titanic. Not perhaps a very subtle production, but it got a laugh from me.
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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 #758 on: 15:02:24, 29-07-2008 » |
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B.F.Pinkerton deserts Madama Butterfly, who looks out for the return of his ship, the 'Abraham Lincoln'.
Alfio traditionally arrives on the scene in Cav on his horse-drawn cart, singing a jolly entrance-aria.
Billy Budd is set entirely on the HMS Indomitable.
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« Last Edit: 15:08:44, 29-07-2008 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 #759 on: 15:12:00, 29-07-2008 » |
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The PAGLIACCI arrive on their travelling theatre-wagon.
Tancredi arrives on a horse in the Monteverdi version (the thumping of its hooves is heard in the music).
Aeneas & crew leave by boat.
Ben (in THE TELEPHONE) is leaving by train "in an hour", and checks the train-time on the ticket. In the last scene he's at a phone-box in the station, but we never see his train.
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« Last Edit: 15:14:08, 29-07-2008 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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Il Grande Inquisitor
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« Reply #760 on: 15:21:22, 29-07-2008 » |
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Does swan count?  And I've seen at least two productions of Aida where Radames arrives back from the war riding an elephant! |
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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 #761 on: 15:24:27, 29-07-2008 » |
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After sailing to this island
- Tossing in a manner frightful
We are all once more on dry land
- And we find the change delightful
The girls in Act 2 of The Gondoliers, and in Act 1 we have
From the sunny Spanish shore
The noble Duke of Plaza Tor'
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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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harmonyharmony
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« Reply #762 on: 15:26:25, 29-07-2008 » |
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How about spaceship voyages?
I can think of at least 3!
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« Last Edit: 15:32:04, 29-07-2008 by harmonyharmony »
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'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
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Reiner Torheit
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« Reply #763 on: 15:29:19, 29-07-2008 » |
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Belmonte, Pedrillo, Constanze & Blonde have ended up in Pasha Selim's lands through being shipwrecked at sea. It was obviously a popular device in Viennese Singspiel, as DER STEIN DES WEISENS (a multi-composer pot-pourri including 3 good numbers by Mozart and a lot of very substandard ones by other people) also has a shipwreck, which opens Act II. However, in that case nobody survives it. And Ulysses is washed ashore too |
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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 #764 on: 15:35:15, 29-07-2008 » |
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There's a rather uncomfortable (and unconventional) journey in Rimsky-Korsakov's The Tale of Tsar Saltan, of his Son the Renowned and Mighty Bogatyr Prince Gvidon Saltanovich, and of the Beautiful Princess-Swan, when Tsaritsa Militrisa and her infant son are cast into the sea in a barrel, eventually arriving on the island of Buyan.  |
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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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