Amph The music! The drama! The 100 Greatest Operas (number 1 revealed inside!)

I'm officially jealous for that, all I have is a karaoke version of the Magic Flute.

 

It's a bit out of my reach. When my voice is in good shape I can sing Pamina's parts though.

 

I can give you one better than karaoke opera; Sing-Along-opera. Sing-along is very big in Sweden during the summer, for example the most popular tv-show is a sing-along program (with a lot of guest and other entertainment as well). Nowadays one of the operahouses has caught on to this and every summer they do a week with sing-along concerts, where they have the orchestra, a song leader and then the audience gets to sing all together. This is one reason why I don't like living 250 km away from Stockholm and the closest opera houses. I think it would be really fun to take part in that.

Oh, and I'm also not impressed with Carmen, but I think we can take that when it comes.

 

86 - Macbeth by Giuseppe Verdi

Macbeth is an opera in four acts by Giuseppe Verdi, with an Italian libretto by Francesco Maria Piave and additions by Andrea Maffei, based on Shakespeare's play of the same name. It was Verdi's tenth opera and also the first of Shakespeare's plays which he adapted for the operatic stage.

The opera had its premiere in 1847. In 1865 Verdi was asked to add a ballet and a chorus for the Paris opera. He ended rewriting large parts of the opera. Today the 1865 version is the most popular on the world's stages and opera houses.

Synopsis

Note: there are several differences between the 1847 and the 1865 versions which are noted below in indented text in brackets

Place: Scotland
Time: 11th century

Act 1

Scene 1: A heath

Groups of witches gather in a wood beside a battlefield. The victorious generals Macbeth and Banquo enter. The witches hail Macbeth as Thane of Glamis, Thane of Cawdor, and king "hereafter." Banquo is greeted as the founder of a great line of future kings. The witches vanish, and messengers from the king appear naming Macbeth Thane of Cawdor.

Scene 2: Macbeth's castle

Lady Macbeth reads a letter from her husband telling of the encounter with the witches. She is determined to propel Macbeth to the throne.

[Revised version only: Vieni! t'affretta! - "Come! Hurry!"].

Lady Macbeth is advised that King Duncan will stay in the castle that night; she is determined to see him killed (Or tutti, sorgete - "Arise now, all you ministers of hell"). When Macbeth returns she urges him to take the opportunity to kill the King. The King and the nobles arrive and Macbeth is emboldened to carry out the murder (Mi si affaccia un pugnal? - "Is this a dagger which I see before me?"), but afterwards is filled with horror. Disgusted at his cowardice, Lady Macbeth completes the crime, incriminating the sleeping guards by smearing them with Duncan's blood and planting on them Macbeth's dagger. The murder is discovered by Macduff. A chorus calls on God to avenge the killing (Schiudi, inferno, . . - "Open wide thy gaping maw, O Hell").

Act 2

Scene 1: A room in the castle

Macbeth is now king, but disturbed by the prophecy that Banquo, not he, will found a great royal line. To prevent this he tells his wife that he will have both Banquo and his son murdered as they come to a banquet.

[Revised version only: In her aria, La luce langue - "The light fades", Lady Macbeth exults in the powers of darkness]

Scene 2: Outside the castle

A gang of murderers lie in wait. Banquo is apprehensive (Come dal ciel precipita - "O, how the darkness falls from heaven"). He is caught, but enables his son Fleanzio to escape.

Scene 3: A dining hall in the castle

Macbeth receives the guests and Lady Macbeth sings a brindisi (Si colmi il calice - "Fill up the cup"). The assassination is reported to Macbeth, but when he returns to the table the ghost of Banquo is sitting in his place. Macbeth raves at the ghost and the horrified guests believe he has gone mad. The banquet ends abruptly with their hurried, frightened departure.

Act 3

The witches' cave

The witches gather around a cauldron in a dark cave. Macbeth enters and they conjure up three apparitions for him. The first advises him to beware of Macduff. The second tells him that he cannot be harmed by a man 'born of woman'. The third that he cannot be conquered till Birnam Wood marches against him. (Macbeth: O lieto augurio - "O, happy augury! No wood has ever moved by magic power")

Macbeth is then shown the ghost of Banquo and his descendants, eight future Kings of Scotland, verifying the original prophecy. (Macbeth: Fuggi regal fantasima - "Begone, royal phantom that reminds me of Banquo"). He collapses, but regains consciousness in the castle.

[Original version: The act ends with Macbeth recovering and resolving to assert his authority: Vada in fiamme, e in polve cada - "Macduff's lofty stronghold shall / Be set fire...."

A herald announces the arrival of the Queen. Macbeth tells his wife of his encounter with the witches and they res

 

First, I fixed the broken link. Second, I think this is one of the operas where Verdi has worked with a good, and logic, libretto as well.

 

I'm inspiring myself with this thread here. I went by the local library and saw that they had some more opera DVDs than usual, and a couple of operas that I haven't seen and that are on this list. So I think I will have a operafilled summer. I'm dead tired after working 12 full days in a row, so I wanted something lighter and went chose die Fledermaus (that I have seen) and then Gianni Schicci, and that one will be a new experience for me.

 

85 - Zolotoy Petushok by Nikolay Rimsky-Korsakov

The Golden Cockerel (Russian: ??????? ???????, Zolotoy Petushok) is an opera in three acts (with short prologue and even shorter epilogue) by Nikolay Rimsky-Korsakov. The libretto was written by Vladimir Belsky and is based on Alexander Pushkin's 1834 poem The Tale of the Golden Cockerel (which is based on two chapters of Tales of the Alhambra by Washington Irving). The opera was completed in 1907, and received its premiere in Moscow in 1909, thus after the composer's death. Previously, the opera was commonly performed in French under the still recognized title Le Coq d'Or.

Synopsis

Time: Unspecified

Place: In the thrice-tenth kingdom, a far off place (beyond thrice-nine lands) in Russian fairy tales.

Act 1

In the short prologue, after quotation in the orchestra of the most important leitmotifs, a mysterious Astrologer comes before the curtain announcing to the audience that although they are going to see and hear a fictional tale from long ago, but his story is containing valid and true moral.

The bumbling King Dodon talks himself into believing that his country is in danger from the neighbouring State governed by the beautiful Queen of Shemakha. He asks for the advice of the Astrologer, who gives him a magic Golden Cockerel, which promises to look after his interests. The Golden Cockerel confirms that Queen of Shemakha certainly has some territorial ambitions, so King Dodon foolishly decides to make a pre-emptive strike against the neighbouring State, and sends his army, led by his two sons, to start the battle.

Act 2

However, his sons are both so inept that they manage to kill each other on the battlefield. King Dodon then decides to lead the army himself, but further bloodshed is averted because the Golden Cockerel ensures that the old king becomes besotted when he actually sees the beautiful Queen. The Queen herself encourages this situation by performing a seductive dance ? which tempts the King to try and partner her, but he is clumsy and makes a complete mess of it. The Queen realises that she can take over Dodon?s country without further fighting ? she engineers a marriage proposal from Dodon, which she coyly accepts.

Act 3

The Final Scene starts with the great Bridal procession in all its splendour ? and when this is reaching its conclusion, the Astrologer appears and says to the king ?You promised me anything I could ask for if there could be a happy resolution of your troubles.......? ?Yes, Yes,? said the king, ?Just name it and you shall have it?. ?Right,? said the Astrologer, ?I want Queen of Shemakha!?. At this, the King flares up in fury, and strikes down the Astrologer with a blow from his mace. The Golden Cockerel, loyal to his Astrologer master, then swoops across and pecks through the King?s jugular. The sky darkens and when light returns, both queen and cockerel disappears.

In the epilogue, the Astrologer comes again before the curtain and announces the end of his story, reminding the public that what they just saw was "only an illusion," that only he and the queen were mortals and real.

Roles

Tsar Dodon - bass
Tsarevich Gvidon - tenor
Tsarevich Afron - baritone
General Polkan - bass
Amelfa, a housekeeper - contralto
Astrologer - tenor altino
Shemakan Tsaritsa - soprano
The Golden Cockereel - soprano
******************

The Russian music scene in the late 19th early 20th century must have been fascinating to be around. I'm not really fond of all of it, but it is very powerful. From what little I've heard of this opera it seems to be fascinating, it's not open to much reinterpretation though since the composer wrote a memo about how exactly the opera should be performed. The most famous aria from the opera is the Hymn to the Sun as sung by the Shemakan Tsaritsa.

 

84 - Le Prophete by Giacomo Meyerbeer

Le prophète (The Prophet) is an opera in five acts by Giacomo Meyerbeer. The French-language libretto was by Eugène Scribe.

Synopsis

Prologue

Meyerbeer originally wrote a long overture for the opera but this was cut, with various other sections of the work, during rehearsals due to the excessive length of the opera itself. The overture now survives only in the arrangement made for piano solo or duet made at Meyerbeer's request by Charles-Valentin Alkan.

Act 1

Before Oberthal's castle, Berthe explains to Fidès that she needs the Count's permission to marry Jean. The Anabaptists enter singing their mysterious chorale, Ad nos ad salutarem, (to a tune created by Meyerbeer) and arouse the interest of local peasants in their revolutionary ideas. Oberthal refuses Berthe's request (presumably with droit du seigneur in mind) and arrests Fidès and Berthe.

Act 2

Jean's inn at Leyden. The Anabaptists enter and try to persuade Jean that he is their destined leader. Berthe enters, fleeing Oberthal; the Count arrives and threatens to execute Jean's mother Fidès unless Berthe is returned to him. In despair, Jean hands over Berthe and succumbs to the lures of the Anabaptists.

Act 3

The camp of the Anabaptists. The first scene includes a 'skating' interlude set on the ice of a lake, which became a favourite part of the opera. (Apparently Meyerbeer was persuaded to include this at a late stage when roller-skating became a craze in Paris). The Anabaptists determine to seize Münster; their decision is overheard by Oberthal who has entered the camp in disguise. On his detection he is arrested; but when he informs Jean that he has seen Berthe alive in Münster, Jean cancels the order for his execution. Jean, in his role as Prophet and Leader, inspires the Anabaptist troops with a celestial vision of their impending success.

Act 4

Münster. Jean has taken the city, whose citizens are in despair at his rule. Berthe recognises Fidès, who has been told that Jean is dead, begging in the streets. Berthe determines to kill the wicked Prophet. Jean's coronation is preceded by a splendid March. Fidès is determined to carry out Berthe's plan for revenge but at the last moment recognises her son. Jean denies her and forces her to retract her recognition.

Act 5

John's palace in Münster. The Anabaptist trio resolve to hand over Jean to the Imperial armies to buy their own protection. Fidès encourages Jean to acknowledge her and his sins, and repent. Berthe enters intending to set fire to the palace. When she realises that Jean is the Prophet she has come to destroy, she commits suicide. Jean and Fidès determine to end the revolt; during the celebrations of his coronation, Jean sets off an explosion which brings the palace down on all who remain of the principal characters.

Roles
Jean de Leyde - tenor
Fidés, Jean's mother - mezzo-soprano
Berthe, Jean's lover - soprano
Jonas, an Anabaptist - tenor
Mathisen, an Anabaptist - bass, or baritone
Zacharie, an Anabaptist - bass
Oberthal, a feudal count - bass
**********************

Meyerbeer is sometimes credited as the creator of Grand Opera, and this truly is grand opera. 5 acts, and everyone dies in the end. The opera itself is performed quite rarely. Most of the youtube-clips of performances, not just recordings to still images, are from a telecast in 1998, unfortunately with pretty bad picture quality. This is Berthe's aria from the first act, sung by Victoria Loukianetz. I also chose to post this photomontage of the mezzosoprano Marilyn Horne singing Fidé's part. Finall it's the finale, performed by Victoria Loukianetz, Agnes Baltsa and Placido Domingo.

 

La fille du régiment (The Daughter of the Regiment) is an opéra comique in two acts by Gaetano Donizetti. Written while the composer was living in Paris, the French libretto is by Jules-Henri Vernoy de Saint-Georges and Jean-François Bayard. A slightly different Italian-language version (in translation by Callisto Bassi) was adapted to the tastes of the Italian public.

Synopsis

Act 1

The Tyrolean mountains

On their way to Austria, the terrified Marquise of Berkenfield and her butler, Hortensius, have paused in their journey because a skirmish has broken out. When the Marquise hears from the villagers that the French troops have retreated, she comments on the rude manners of the French people (?Pour une femme de mon nom?). Sulpice, sergeant of the 21st regiment, assures everyone that his men will restore peace and order. He is joined by Marie, the mascot, or ?daughter,? of the regiment, which adopted her as an orphaned child. When Sulpice questions her about a young man she has been seen with, she explains that he is a local Tyrolean who once saved her life. Troops of the 21st arrive with a prisoner: this same Tonio, who says he has been looking for Marie. She steps in to save him, and while he toasts his new friends, Marie sings the regimental song (?Chacun le sait?). Tonio is ordered to follow the soldiers, but he escapes and returns to declare his love to Marie. Sulpice surprises them, and Marie must admit to Tonio that she can marry only a soldier from the 21st.

The Marquise of Berkenfield asks Sulpice for an escort to return her to her castle. When he hears the name Berkenfield, Sulpice remembers a letter he found near the young Marie on the battlefield. The Marquise soon admits that she knew the girl?s father and says that Marie is the long-lost daughter of her sister. The child had been left in the care of the Marquise, but was lost. Shocked by the girl?s rough manners, the Marquise is determined to give her niece a proper education and to take her to her castle. Tonio has enlisted so that he can marry her (?Ah, mes amis?). But Marie has to leave both her regiment and the man she loves (?Il faut partir?).

Act 2

The Berkenfield castle

The Marquise has arranged a marriage between Marie and the Duke of Krakenthorp. Sulpice is also at the castle, recovering from an injury, and is supposed to be helping the Marquise with her plans. The Marquise gives Marie a singing lesson, accompanying her at the piano. Encouraged by Sulpice, Marie slips in phrases of the regimental song, and the Marquise loses her temper (Trio: ?Le jour naissait dans la bocage?). Left alone, Marie thinks about the meaninglessness of money and position (?Par le rang et l?opulence?). She hears soldiers marching in the distance and is delighted when the whole regiment files into the hall; she leads them in singing a patriotic tribute ("Salut à la France"). Tonio, Marie, and Sulpice are reunited. Tonio asks for Marie?s hand. The Marquise is unmoved by the young man?s declaration that Marie is his whole life (?Pour me rapprocher de Marie?). She declares her niece engaged to another man and dismisses Tonio. Alone with Sulpice, the Marquise confesses the truth: Marie is her own illegitimate daughter whom she abandoned, fearing social disgrace.

Hortensius announces the arrival of the wedding party, headed by the groom?s mother, the Duchess of Krakenthorp. Marie refuses to leave her room, but when Sulpice tells her that the Marquise is her mother, the surprised girl declares that she cannot go against her mother?s wishes and agrees to marry a man that she does not love. As she is about to sign the marriage contract, the soldiers of the 21st regiment, led by Tonio, storm in to rescue their ?daughter.? The guests are horrified to learn that Marie was a canteen girl, but they change their opinion when she tells them that she can never repay the debt she owes the soldiers. The Marquise is so moved by her daughter?s goodness of heart that she gives her permission to marry Tonio. Everyone joins in a final ?Salut à la France.?

Roles

Marie - soprano
Toni,

 

I checked what I wrote about it in my opera-blogg when I reviewed it. About the opera I say that it's an entertaining story with a couple of unexpected twists, but that it's missing some really catchy music, except for Tonio's aria. Then I go into the the production itself, and the funny fact that Juan Diego Florez plays an Austrian, but speaks French with a very audible Spanish accent. Overall I gave it 3,5/5.

 

Pavarotti was not the best actor on the opera stage, and he was limited to lighter, lyrical parts, but one can't deny that he had a wonderful voice for the lyrical, Italian operas, and that he mastered it.