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

82 - Billy Budd by Benjamin Britten

Billy Budd is an opera by Benjamin Britten, first performed at the Royal Opera House, Covent Garden, London on 1 December 1951. It is based on the short novel Billy Budd by Herman Melville.

Originally, the opera was written in four acts, but, in 1960, Britten revised it substantially in preparation for a BBC broadcast revival, compressing it into two acts and cutting Vere's appearance at the end of Act I. This meant that his first appearance after the prologue was not a public speech but a private moment alone in his cabin. The two-act version is generally considered the more dramatically effective, but the four-act version is occasionally revived and has been recorded.

Synopsis
Place: On board the battleship HMS Indomitable, a "seventy-four"
Time: The French Revolutionary Wars in 1797

Prologue

Captain Edward Fairfax Vere, an old man, reflects on his life and his time in the navy. He reflects on the conflict between good and evil, he is tormented by guilt over the case of Billy Budd on board his ship, HMS Indomitable, some years earlier.

Act 1

The crew of the Indomitable works on deck. For slipping and bumping into an officer, the Novice is sentenced to be flogged. At the same time a cutter approaches, returning from a merchant ship where it has pressed three sailors into England's Navy.

One of these sailors, Billy Budd, seems overjoyed with his situation - entirely different from the other two who are not so happy. Claggart, the Master-at-Arms, calls him "a find in a thousand," despite the slight defect of a stammer. Billy says a jaunty farewell to the Rights o' Man, his former ship, innocent of what his words imply. The officers take his words as a deliberate provocation and order the men below decks. Claggart tells Squeak, the ship's corporal, to keep an eye on Billy and give him a rough time.

The Novice returns from his flogging, unable to walk and helped along by a friend. Billy is shocked at the cruelty of the punishment, but is certain that if he follows the rules he will be in no danger. Dansker, an old sailor, nicknames Billy "Baby Budd" for his innocence.

At this point in the four-act version came the climax of Act I, in which Captain Vere appeared on deck to give a speech to the men. In the two-act version, Dansker simply tells the others Vere's nickname, "Starry Vere," and this is enough for the impulsive Billy to swear his loyalty to the unseen captain.

In his cabin, Captain Vere muses over classical literature. His officers enter, and they discuss the revolution in France and the mutinies in the British Navy sparked by French ideas of democracy. The officers warn that Billy may cause trouble, but Vere dismisses their fears and expresses his love for the men under his command.

Below decks the sailors rough-house, but old Dansker remains gloomy. Billy goes for some tobacco to cheer him up, and discovers Squeak rifling through his kit. In a rage, Billy begins to stammer. He knocks Squeak to the ground as Claggart and the corporals enter. Billy is still unable to speak, but Claggart takes his side and sends Squeak to the brig. However, when alone, Claggart reveals his hatred for Billy and vows to destroy him. He orders the Novice to try and bribe Billy into joining a mutiny, and the broken-spirited Novice quickly agrees. Billy refuses the bribe and believes he will be rewarded, but Dansker warns him to beware of Claggart.

Act 2

Claggart begins to tell Vere about the danger that Billy represents, but is interrupted by the sighting of a French ship. The Indomitable attacks, but loses the enemy in the mist. Claggart returns, and tells Vere that Billy poses a threat of mutiny. Vere does not believe him and sends for Billy so that Claggart may confront him.

Later, in Vere's cabin, Claggart repeats the false charge to Billy's face. Once again, Billy begins to stammer in rage. Unable to speak, he strikes Claggart, killing him. The Captain is forced to convene an immediate court-martial, and the officers find Billy guilty and sentence him to hang. Billy begs

 

Rogue I think you summed up my view of why I have a big problem with 20th century operas, except for Puccini.

 

Well it's more about getting used to it. Spoken German doesn't sound much like the German they sing in the operas, and I know that I thought it was weird at first to hear Swedish being sung.

 

The Queen of Spades, Op. 68 (Russian: ??????? ????, Pikovaya dama) is an opera in 3 acts (7 scenes) by Pyotr Ilyich Tchaikovsky to a Russian libretto by the composer's brother Modest Tchaikovsky, based on a short story of the same name by the poet Alexander Pushkin. The premiere performance took place in 1890 in St. Petersburg, Russia. For a period the opera was commonly performed in French under the still recognized title Pique Dame. Nowadays, the opera is almost exclusively sung in Russian.

Synopsis

Time: The close of the 18th century

Place: St. Petersburg, Russia

Act 1

Scene 1

In a sunny, summer garden, people are strolling. Officers Surin and Chekalinsky share impressions about the strange behaviour of their friend Hermann. He spends time in the gambling house, but does not tempt fate at all. Hermann enters with Colonel Tomsky. Hermann opens his soul to him, explaining that he is passionately in love, but he does not know his loved one's name. They are joined by several officers. Prince Yeletsky tells of his upcoming marriage. "This beautiful angel has given consent to combine her destiny with mine!" Hermann is horrified to learn that the prince's fiancée is the object of his passion.

The countess and her granddaughter enter. Both women are hypnotised by the sight of the unfortunate Hermann. Tomsky tells the story of the countess who, as a young Moscow "lioness" had lost all her fortune playing the card game Faro. By bribing Count Saint-Germain with sexual favors, she learned the secret of three winning cards, and won back her fortune. She told her husband the secret, and later a handsome young man. That night, a phantom came to her and said that she would receive a mortal blow from the third one she told.

Hermann listens to the story with great interest. Surin and Chekalinsky mockingly suggest that he find out the old woman?s secret at cards. A thunderstorm rumbles. The garden empties. Only Hermann meets the raging elements openly. He exclaims that while he is alive, he will never let the prince have his beloved.

Scene 2

At sunset in Lisa's room, the girls play music, trying to amuse their friend, who is sad despite her engagement to the prince. When alone, she reveals that she loves the mysterious stranger, in whose eyes she saw the fire of scorching passion. Suddenly, Hermann appears on the balcony. He has come to see her one last time before killing himself. His ardour carries away Lisa. A knock at the door interrupts him. Hiding, Hermann is excited by the appearance of the old countess, who looks like a terrible phantom of death. Unable to hide her feelings anymore, Lisa submits to Hermann.

Act 2

Scene 1

A rich dignitary is hosting a ball. Yeletsky, disturbed by the coldness of Lisa, assures her of the immensity of his love. Chekalinsky and Surin, wearing masks, scoff at Hermann, asking him whether he will be the third to learn the secret of the three cards. Their words spark his imagination.

Pastoral Intermezzo: The Sincerity of the Shepherdess

After the completion of the intermezzo, Hermann sees the Countess. When Lisa gives him the keys to her bedroom which connects to the countess's, Hermann thinks it is an omen. Tonight he will learn the secret of the three cards, and with it, win Lisa?s hand.

Scene 2

Hermann hides in the bedroom of the countess. She enters. She is unhappy with the customs of the day, and with melancholy recalls the past. She falls asleep in an armchair. Hermann reveals himself, begging her to reveal the secret of the three cards, but the countess, who has grown dumb with fright, says nothing. When Hermann threatens her with a pistol, she dies of shock. Blaming Hermann for the death, Lisa sends him away. In this scene we hear the ancient French song "Vive Henri IV" as well as the beginning of "Je crains de lui parler la nuit" (Laurette?s Aria) from Grétry's Richard Coeur-de-Lion.

Act 3

Scene 1

Hermann is in a barracks. He reads Lisa?s letter, forgiving him, and asking him to meet her on the quay. In his imagination, he sees pictures of the old woman's funeral. Doleful

 

I think short and focused can be a good thing for operas. There quite a few out there that are way too complicated, it's nice to have something else.

 

80 - La Cenerentola by Gioachino Rossini

La Cenerentola, ossia La bontà in trionfo (Cinderella, or Goodness Triumphant) is an operatic dramma giocoso in two acts by Gioachino Rossini. The libretto was written by Jacopo Ferretti, based on the fairy tale Cinderella. The opera was first performed in Rome's Teatro Valle on 25 January 1817.

Synopsis

In this variation of the traditional Cinderella story, the wicked stepmother is replaced by a stepfather, Don Magnifico. The Fairy Godmother is replaced by Alidoro, a philosopher and the Prince's tutor. Cinderella is identified not by her glass slipper but by her bracelet.

Time: Late 18th century ? early 19th century
Place: Italy

Act 1

Angelina ("Cenerentola") is forced to work as the maid in the run-down house of her stepfather Don Magnifico. While his two daughters, Clorinda and Tisbe, try on their gowns and jewelry, Cenerentola sings a ballad about a king who found his wife among common folk. A beggar appears. Clorinda and Tisbe want to send him away, but Cenerentola offers him bread and coffee. Courtiers arrive to announce that Prince Ramiro is looking for the most beautiful girl in the land to be his bride and will soon pay them a visit. Prince Ramiro arrives, disguised as his own valet in order to observe the women without them knowing. He is immediately struck with admiration for Cenerentola and she for him. Cenerentola leaves when her stepsisters call her. Don Magnifico enters and Ramiro tells him the Prince will arrive shortly. The "prince" is actually Dandini, Ramiro's valet in disguise. The stepsisters arrive and fawn over Dandini, who invites them to a ball at the royal country palace. Don Magnifico tells Cenerentola that she cannot accompany them to the ball. Before leaving, Ramiro notes how badly Cenerentola is treated. His tutor, Alidoro, who had been at the house earlier disguised as the beggar, arrives still wearing his rags and asks for Don Magnifico's third daughter. Magnifico denies she is still alive, but when Alidoro is left alone with Cenerentola, he tells her that she will accompany him to the ball. He throws off his beggar's clothes and identifies himself as a member of Prince Ramiro's court, telling her that heaven will reward her pure heart.

The stepsisters and Don Magnifico arrive at Prince Ramiro's palace with Dandini, still posing as the prince. Dandini offers Magnifico a tour of the wine cellar, hoping to get him drunk. He then disentangles himself from the family and tells Ramiro how stupid the two sisters are. Ramiro is confused since Alidoro had spoken well of one of Magnifico's daughters. Clorinda and Tisbe enter, and Dandini offers Ramiro as an escort for one of them. Believing him to be a mere valet, they reject him. Alidoro announces the arrival of an unknown veiled lady (Cenerentola). All sense something familiar about her and feel they are in a dream but on the verge of being awakened with a shock.

Act 2

Don Magnifico, Clorinda, and Tisbe are in a room of Ramiro's palace. Magnifico frets over the unknown woman who threatens the chance for one of his daughters to marry Prince Ramiro. The three leave and Ramiro enters, smitten with the unknown woman who resembles the girl he had met that morning. He conceals himself as Dandini arrives with Cenerentola and tries to court her. She turns Dandini down politely, telling him that she is in love with his valet. Ramiro steps forth, reveals himself as the prince and declares his love for her. She then leaves giving him one of a pair of matching bracelets and saying that if he really cares for her, he will find her. Encouraged by Alidoro, Ramiro calls his men together to begin searching for her. Meanwhile, Dandini confesses to Don Magnifico that he is really Prince Ramiro's valet. Magnifico becomes highly indignant, and Dandini orders him out of the palace.

At Magnifico's house, Cenerentola, once again dressed in rags, is tending the fire and singing her ballad. Magnifico and his daughters return from the ball in a vile mood, and order Cenerentola to prepare their supper. A thunderst

 

79 - Castor et Pollux by Jean-Philippe Rameau

Castor et Pollux (Castor and Pollux) is an opera by Jean-Philippe Rameau, first performed on 24 October 1737 at the Académie royale de musique in Paris. The librettist was Pierre-Joseph-Justin Bernard, whose reputation as a salon poet it made. This was the third opera by Rameau and his second in the form of the tragédie en musique (if the lost Samson is discounted). Rameau made substantial cuts, alterations and added new material to the opera for its revival in 1754.[1] Experts still dispute which of the two versions is superior. Whatever the case, Castor et Pollux has always been regarded as one of Rameau's finest works.

Synopsis

Prologue

The allegorical prologue is unrelated to the main story. It celebrates the Treaty of Vienna of 1736 which put an end to the War of the Polish Succession, in which France had been involved. In the prologue, Venus, goddess of love, subdues Mars, god of war, with the help of Minerva.

Act 1

Background note: Castor and Pollux are famous heroes. Despite being twin brothers, one of them (Pollux) is immortal and the other (Castor) is mortal. They are both in love with the princess Telaira (Télaïre), but she loves only Castor. The twins have fought a war against an enemy king, Lynceus (Lyncée) which has resulted in disaster: Castor has been slain. The opera opens with his funeral rites. Telaira expresses her grief to her friend Phoebe (Phébé) in Tristes apprêts, one of Rameau's most famous arias. Pollux and his band of Spartan warriors interrupt the mourning bringing the dead body of Lynceus who has been killed in revenge. Pollux confesses his love for Telaira. She avoids giving a reply, instead asking him to go and plead with his father Jupiter, king of the gods, to restore Castor to life.

Act 2

Pollux expresses his conflicting emotions in the aria Nature, amour, qui partagez mon coeur. If he does what Telaira says and manages to persuade Jupiter to restore his brother to life, he knows he will lose the chance to marry her. But he finally yields to her pleas. Jupiter descends from above and Pollux begs him to bring Castor back to life. Jupiter replies he is powerless to alter the laws of fate. The only way to save Castor is for Pollux to take his place among the dead. Pollux, despairing that he will never win Telaira, decides to go to the Underworld. Jupiter tries dissuade him with a ballet of the Celestial Pleasures led by Hebe, goddess of youth, but Pollux is resolute. A piece from the beginning of Act 2 can be heard during the second opera scene of Sofia Coppola's film, Marie Antoinette.

Act 3

The stage shows the entrance to the Underworld, guarded by monsters and demons. Phoebe gathers the Spartans to prevent Pollux from entering the gate of the Underworld. Pollux refuses to be dissuaded, even though Phoebe declares her love for him. When Telaira arrives and she sees Pollux's passion for her, Phoebe realises her love will be unrequited. She urges the demons of the Underworld to stop him entering (Sortez, sortez d'esclavage/Combattez, Démons furieux). Pollux fights the demons with the help of the god Mercury and descends into Hades.

Act 4

The scene shows the Elysian fields in the Underworld. Castor sings the aria Séjours de l'éternelle paix: the beautiful surroundings cannot comfort him for the loss of Telaira, neither can a Chorus of Happy Spirits. He is amazed to see his brother Pollux, who tells him of his sacrifice. Castor says he will only take the opportunity to revisit the land of the living for one day so he can see Telaira for the last time.

Act 5

Castor returns to Sparta. When Phoebe sees him, she thinks Pollux is dead for good and commits suicide so she can join him in the Underworld. But Castor tells Telaira he only plans to remain alive with her for a single day. Telaira bitterly accuses him of never having loved her. Jupiter descends in a storm as a deus ex machina to resolve the dilemma. He declares that Castor and Pollux can both share immortality. The opera ends with the fête de l'univers ("Festival of the Uni

 

78 - l'Africaine by Giacomo Meyerbeer

L'africaine (The African Woman) is a grand opera, the last work of the composer Giacomo Meyerbeer. The French libretto was written by Eugène Scribe. Meyerbeer's working title for the opera was 'Vasco da Gama', the hero.

Synopsis
The opera depicts fictional events in the life of the explorer Vasco da Gama.

Place: Lisbon, at sea, and in an exotic new land.
Time: late 15th century

Act 1

The council chamber, Lisbon. The beautiful Inèz is forced by her father, the Grand Admiral Don Diego, to marry Don Pédro instead of her true love, Vasco da Gama. Da Gama, who is thought to have died in the expedition of Bartolomeu Dias, appears at the Grand Council saying he has discovered a new land, and displaying Sélika and Nelusko as examples of a newly-discovered race. His request for an expedition is refused, causing da Gama to attack the Grand Inquisitor, who anathematises him. Da Gama is then imprisoned.

Act 2

In prison, Sélika, who is in fact queen of the undiscovered land, saves da Gama, whom she loves, from being murdered by Nélusko, a member of her entourage. Inès agrees to marry Don Pédro if da Gama is freed; da Gama, not realising that Inès has made this bargain, and noticing her envy of Sélika, gives her Sélika and Nelusko as slaves. Don Pédro announces he is to mount an expedition to the new lands that were da Gama's discovery. Nélusko offers his services as pilot.

Act 3

Nélusko is navigating Don Pédro's ship, but is secretly planning to destroy the Europeans. He sings a ballad of the legend of Adamstor, the destructive giant of the sea. Nélusko gives orders which will direct the ship into an oncoming storm. Da Gama has followed Don Pédro in another ship, and begs him to change course to avoid destruction. Don Pédro refuses, and orders him to be chained. The storm breaks out. Nélusko leads the local people to kill all the Europeans on the ships - only da Gama is spared.

Act 4

Sélika's island. Sélika is met with a grand celebration and swears to uphold the island's laws, which include the execution of all strangers. Da Gama is captured by priests, who intend to sacrifice him. He is amazed by the wonders of the island, and sings perhaps the most famous aria of the opera O Paradis! (O Paradise!). Sélika saves him by saying that he is her husband, forcing Nélusko to swear this is true. Da Gama resigns himself to this new life, but hearing the voice of Inez, who is being taken to her execution, he rushes to find her.

Act 5

The island. The reunion of da Gama and Inez is interrupted by Sélika, who feels betrayed. When she realises the strength of the lovers' affection, she allows them to return to Europe, telling Nélusko to escort them to da Gama's boat. She then commits suicide by inhaling the perfume of the poisonous blossoms of the Manchineel tree. Nélusko follows her into death.

Roles
Don Pedro - bass
Don Diego - bass
Inèz - soprano
Vasco da Gama - tenor
Don Alvar - tenor
the grand inquisitor - bass
Nélusko - baritone
Sélika - soprano
the high priest - bass
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This is another opera that I've only heard about the title, never any music from it. Eventhough it has been performed here and there during the last years, the performances haven't found their way to the tube. The ones that can be found there is a very blurry performance from Barcelona in 1977 and a production from a German opera house, that has been filmed with bad quality from the back of the audience. The aria O, paradise can be found in several versions though. It was a standard piece for tenors in the 1950s/60s. Here it is sung in 2003 by Ben Heppner

 

77 - Semiramide by Gioacchino Rossini

Semiramide is an opera in two acts by Gioacchino Rossini. After making his mark with a number of brilliant comic operas (most notably Il barbiere di Siviglia, La Cenerentola, Il Turco in Italia, and L'Italiana in Algieri), Rossini turned more and more to serious opera, and during the years 1816-1822 he wrote a considerable series of them. Semiramide is his final Italian opera.

Synopsis
At a public ceremony, Queen Semiramide of Babylon intends to announce the successor to her throne. As she is about to disclose the name, the sacred flame is extinguished, signifying divine displeasure. Oroe, the High priest, proclaims that the murder of Semiramide's husband, King Nino, continues to disturb the gods. An oracle will soon arrive naming the hero who shall bring the return of order. General Arsace has been recalled to Babylon not only by a private note from his queen but in accordance with the dying wishes of the man he believes to have been his father. Arsace has brought to Oroe a casket - the contents of which remain secret. Prince Assur is angered by Arsace's presence and his intention to wed Princess Azema, since he also wants her hand in marriage to strengthen his political position. Prince Idreno also wishes to marry Azema, but she reacts coolly to his ardor.

Once in possession of the oracle, Semiramide learns that peace will be restored by Arsace's return and marriage. As she secretly loves Arsace, the wedding shall be her own. Arsace misunderstands her words, believing Azema is intended as his bride. At a public gathering Semiramide announces that Arsace will be both her successor and her husband. As she orders Oroe to unite them, a frightful sound is heard deep within Nino's mausoleum. The shade of Nino appears and demands a sacrifice - Arsace will be king, but he must first descend into the depths of the tomb and offer a victim to the dead king's ashes, thus avenging his unjust murder.
Assur corners Semiramide and during a bitter exchange, the details of their plot are revealed - Assur might have killed Nino, but it was Semiramide who prepared the poison. The situation is complicated by the disappearance of her son, Ninia. Semiramide hopes Arsace will save her from the consequences of the terrible deed. Oroe shares with Arsace the secret of his past - he is in fact Prince Ninia. The appalling realization that his intended bride is really his mother - who now must be killed - is too much, and Arsace hopes that Assur's murder alone will satisfy Nino's spirit.

Idreno renews his suit and Azema reluctantly agrees to marry him. Arsace confronts Semiramide with the awful truth. She is consumed with self-loathing and commands Arsace to strike her dead, but Arsace is moved by filial love and weeps in her arms. Assur prepares to enter Nino's tomb, intent on killing Arsace but is momentarily blocked by unearthly visions. Arsace searches for the sacrificial victim within the tomb. Semiramide lurks in the shadows, hoping to protect him. She pleads to be spared from her dead husband's vengeance. Oroe commands Arsace/Ninia to strike and Arsace believes he has slain Assur, but has actually murdered Semiramide. With great remorse, Arsace attempts to take his own life but is prevented by Oroe. Assur is taken into custody and Ninia is proclaimed the rightful king, with Azema his queen.

Roles
Semiramide, Queen of Babylon, widow of King Nino - soprano
Arsace, Commander of the Assyrian army - contralto
Assur, a prince, descendant of Baal - bass
Idreno, an Indian king - tenor
Oroe, high priest of the Magi - bass
Azema, a princess, descendant of Baal - soprano
Mitrane, Captain of the Guard - tenor
King Nino, ghost - bass
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I've never heard the opera, but the ouverture is quite well known. The opera is rarely performed today, when Rossini is almost only remembered for his comic operas. Here's a taste of the music with what seems to be the two most famous pieces from the opera: Marily Horne as Arsace, [link=http://www.

 

Joan seems to have had it as one of her big roles, there are a lot of recordings of her with concert performances, I prefer to use stage productions in the clips when it's possible though.