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krj
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Opera discussion
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Feb 10 21:56 UTC 1997 |
This item spins off from a discussion void, jiffer and krj were having in
party this morning. First, we have a question: which are the best
operas to introduce a neophyte to the form?
We'll also talk about upcoming operatic events in the Southeastern
Michigan area: the NYCO touring LA BOHEME, the Michigan Opera Theatre
spring season, and the UMich School of Music spring production.
And from there, we'll see where we go.
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| 221 responses total. |
krj
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response 1 of 221:
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Feb 10 21:57 UTC 1997 |
(( Classical item #10 is linked as Music #21 ))
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krj
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response 2 of 221:
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Feb 10 22:02 UTC 1997 |
I would propose that Puccini's LA BOHEME is the best starter opera
in the standard repertory. It's massively melodic, yet mercifully
brief. Its love story and its characters, from an age and culture
close to our own, are easy to identify with. And the libretto has
a great sense of wit: the dispatching of the landlord, Musetta's
elderly date being stuck with the Christmas Eve dinner bill;
the ebb and flow of love and breakup in Act 3.
Mozart's MARRIAGE OF FIGARO might be a good choice, but it's too damn
long for a novice -- over 3 hours of music, I think, plus intermissions.
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rcurl
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response 3 of 221:
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Feb 11 06:43 UTC 1997 |
I second La Boheme. Madame Butterfly is a close second.
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davel
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response 4 of 221:
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Feb 11 13:15 UTC 1997 |
I'd say it depends on the person's tastes & background, but in general the
suggestions so far are reasonable. My own first suggestion, however, would
be to ease people in with something less operatic but still sort of opera,
if you're really afraid it will be too big a shock. I'm thinking of something
like _HMS_Pinafore_ or a couple of Offenbach's lighter works. But again, it
depends.
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krj
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response 5 of 221:
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Feb 12 08:53 UTC 1997 |
Here's an outline of the spring schedule for the Michigan Opera Theatre.
All productions are at the Detroit Opera House, adjoining Grand Circus
Park.
Verdi's RIGOLETTO opens April 5
Mozart's THE MARRIAGE OF FIGARO opens May 3
Wagner's THE FLYING DUTCHMAN opens May 31.
Tickets range from $18 to $95. For information, call (313) 874-SING.
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rcurl
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response 6 of 221:
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Feb 12 19:26 UTC 1997 |
We went to the Metropolitan Opera performances in Detroit until those
folded, but haven't begun again with the MOT. Are all performances
in-house, or do they have lots of visiting singers and orchestras?
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krj
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response 7 of 221:
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Feb 13 05:50 UTC 1997 |
There is a standing orchestra. The singers are almost all from
elsewhere. I would say that most of the singers at the MOT
are solid performers from the second rank of international artists; in the
eight years I have been going to MOT operas, the only singer I would
count as world-famous would be Joan Sutherland. Oh, MMaria Ewing
was here for something a year or two ago, but we saw the alternate cast.
(Might have been Salome?)
There just aren't enough Pavarottis, Domingos and Dawn Upshaws
to go around.
One thing you should be aware of is that MOT double-casts all lead
roles, since some of their performances are crammed in close together
on weekends.
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jiffer
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response 8 of 221:
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Feb 13 13:04 UTC 1997 |
I alwasy wonder how these great singers go day after day singing! it is so
grueling! Maybe i will treat myself to THE FLYING DUTCH MAN for my birthday.
thoughi much prefer THE MARRIAGE OF FIGARO. I must say that MOT has a lot
of very "famious" and common operas coming into twon. Whcih can be good for
a novice spectator, mianly cos you won't usually have to buy the darn book
(i forgot what theya re officailly called) to go along with the opera!
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bruin
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response 9 of 221:
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Feb 13 13:06 UTC 1997 |
RE #7 Who is Dawn Upshaw?
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rcurl
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response 10 of 221:
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Feb 13 22:24 UTC 1997 |
Libretta? We use the RCA Book of the Opera (ca. 1935) to review the story.
Nice pictures, too, of Caruso, Gallacurci, tc, in famous roles.
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krj
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response 11 of 221:
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Feb 13 23:18 UTC 1997 |
Bruin: Dawn Upshaw is possibly the leading American soprano; obviously
her fame is not in a class with The Three Tenors, though!
She appeared on the recent TV broadcast of COSI FAN TUTTE; we heard her
in the offstage role of The Bird in Wagner's SIEGFRIED back in 1990.
Jiffer: do you know about supertitles?
rcurl: I have two choice opera reference books: the late 1980s edition
of KOBBE'S COMPLETE OPERA BOOK is my favorite for reading about plot and
structure summaries of most of the operas one is likely to see staged.
The book is a mix with some essays remaining by the original Mr. Kobbe,
who died in 1919; most of the book is by Lord Harewood, who has edited
about three editions of the book and who seems to know everything
about opera.
As a supplement, I like The Penguin Guide To Opera Recordings,
which includes very short synopses for nearly every opera ever
released on compact disc, including many we are unlikely *ever* to see
on stage. This is, of course, also useful as a CD shopping guide,
when you want to pick one recording of TURANDOT.
-----
some topics I want to get to: travelling to see operas elsewhere;
local regional opera, starting with Lansing and Adrian; operas on
videotape and laserdisc; opera in English translation
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md
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response 12 of 221:
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Feb 15 20:10 UTC 1997 |
Carmen is a cool opera for beginners.
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srw
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response 13 of 221:
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Feb 15 20:21 UTC 1997 |
Second Carmen. I got started in opera with Mozart's Magic Flute.
I think that's also a good one to start with.
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mary
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response 14 of 221:
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Feb 16 00:40 UTC 1997 |
Michael is back! I've been wondering and asking and downright
fretting over your absence. Don't you *ever* do that again.
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rcurl
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response 15 of 221:
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Feb 16 06:24 UTC 1997 |
Yes, Carmen is good. I got started with Rigoletto. It was at a time when I
was also indulging myself in Greek tragedy, so the impact was enormous.
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jiffer
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response 16 of 221:
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Feb 16 14:41 UTC 1997 |
Krj: SUpertitles?> uhm... not that i am aware of. I enjoy opera but don't
usually get a chance to be educated or see it often. I started with _Mdme.
Butterfly_ and then saw a fw others. Mainly listen to the CDs and yearn to
actually get to go to more!
Carmen is good.
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krj
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response 17 of 221:
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Feb 18 00:21 UTC 1997 |
Supertitles are a translation of the libretto which are projected
above the stage. They function like subtitles in a foreign film.
They were invented by Toronto Opera in the early 1980s, if I remember
correctly. They were quite controversial -- musicians and directors
felt that they distracted from the stage experience, and James
Levine was quoted as saying, "Over my dead body," when asked if the
Metropolitan Opera would adopt titles.
But audiences loved titles, and they have rapidly spread to become
standard in North American opera productions. The Met capitulated to
titles about two years ago, and at last report Maestro Levine was
still breathing. I think that Santa Fe is the last major holdout
against titles.
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rcurl
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response 18 of 221:
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Feb 18 06:51 UTC 1997 |
I don't like them, and put them out of my visual perception. The next
generation of opera goers will acquire a head-nod - sort of a vertical
tennis match syndrome. If they could be projected so it required special
glasses to see them, then everyone could enjoy themselves.
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davel
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response 19 of 221:
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Feb 18 12:52 UTC 1997 |
Except those of us who *already* wear glasses?
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rcurl
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response 20 of 221:
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Feb 18 20:16 UTC 1997 |
Clip-ons.....
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jradio
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response 21 of 221:
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Feb 18 20:18 UTC 1997 |
Is th4ere anyone out there who could tell me where I might get a biography
of James[A Levine. I have heard some things that he has conducted on the
radio, and I would like to know more about him. Thanks in advance.
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krj
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response 22 of 221:
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Feb 19 04:58 UTC 1997 |
Ack! Puccini's LA BOHEME, presented by the New York City Opera
National Company, opens Wednesday February 19 at the Power Center
in Ann Arbor. (That will be, um, today, for many readers.)
It runs through Saturday. In response #2 I discussed LA BOHEME's
attractiveness as an introductory opera.
U.Mich's School of Music presents Mozart's MARRIAGE OF FIGARO
beginning Wednesday March 26. This will be in the small
Lydia Mendellsohn Theatre; Mozart at Mendellsohn is a guaranteed
sellout. In the past, this has usually meant that the school will
sell tickets to the dress rehearsal at a very low price.
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davel
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response 23 of 221:
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Feb 19 18:02 UTC 1997 |
I've never found clipons tolerable (*any* kind). The racks of clipon
sunglasses you find in drugstores shows that some do, but I suspect I'm in
the majority.
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srw
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response 24 of 221:
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Feb 19 18:37 UTC 1997 |
In answer to John Tisinger, there is a James levine (unofficial) home
page at http://www.opera.it/FreeWeb/Domingo/Levine/HOME.HTM
They plan to have a biography posted there, but it is currently just
marked as under construction (don't you just hate that?).
There is a videotape you can buy on his life. It was done as a TV
documentary. See
http://www.unitel.classicalmusic.com/ucatalog/portrait/173_5.htm
There are short pages about Levine at:
http://www.hqe.com/SHOWS/3tenors/levine.htm
http://www.unitel.classicalmusic.com/uhilites/061596.htm
but they may not have information you don't already know.
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