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philistine
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#1
Report Thread starter 7 years ago
#1
There was no such existing group, so I took the liberty of making one. Here we are!

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For those who know their stuff, all the way to absolute beginners to the subject, you will hopefully find some helpful information in this thread.

A good way to get started is to simply fire up YouTube, choose an aria that you enjoy (I may be naive in thinking people are familiar with at least three), and discover the numerous interpretations that have been recorded over the last hundred years. You'll soon find that you have several more tenors and sopranos that you've never previously heard of, yet now enjoy immensely.

I'll list my favourite tenors, sopranos, and arias, with the purpose of both giving newcomers a place to start, and for existing enthusiasts to deride/celebrate my taste. They're in no particular order.

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Tenors:

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Jussi Björling
Enrico Caruso
Luciano Pavarotti
Tino Rossi
Franco Corelli
Rolando Villazón
Agostino Lazzari
Mario Lanza
Plácido Domingo
Joseph Schmidt
Carlo Bergonzi
Angelo Lo Forese
Giuseppe Di Stefano
Giacomo Lauri-Volpi
Giovanni Martinelli
Giuseppe Giacomini
Antonio Paoli
Rudolf Schlock
Francesco Marconi
Beniamino Gigli
Robert Merrill
Tito Schipa
Josef Schmidt
Alfredo Klaus
Carlo Bergonzi
Jon Vickers
Nicolai Gedda
Sergey Lemeshev
Fritz Wunderlich
Lauritz Melchior

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Sopranos:

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Carla Maffioletti
Maria Callas
Anna Caterina Antonacci
Licia Albanese
Sumi Jo
Joan Sutherland
Renata Tebaldi
Anna Netrebko
Annalisa Raspagliosi
Mirella Freni

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Arias:

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È la solita storia del pastore (L'arlesiana)
Au Fond du Temple Saint (Les pêcheurs de perles)
Bella figlia dell'amore (Rigoletti)
Questa o quella (Rigoletto)
Nessun dorma (Turandot)
Una furtiva lagrima (L'elisier d'amore)
Un bel di vedremo (Madama Butterfly)
Je crois entendre encore (Les pêcheurs de perles)
O Soave Fanciulla (La Bohème)
Di' tu se fedele (A Masked Ball)
Recondita armonia (Tosca)
L'amour est un oiseau rebelle (Carmen)
Mein Herr Marquis (Die Fledermaus)
E lucevan le stelle (Tosca)
Libiamo ne' lieti calici (La Traviata)
M'appari Tutt' Amor (Martha)
Vesti la giubba (Pagliacci)
Di quella pira (Il trovatore)
En fermant les yeux (Manon Lescaut)
Mi batte il cor...O Paradiso! (L'africaine)
Casta diva (Norma)
Che gelida manina (La Bohème)
Solenne in quest'ora (La forza del destino)
Donna non vidi mai (Manon Lescaut)
Mi Par d'udire ancora (Les pêcheurs de perles)
Pourquoi me réveiller? (Werther)
Dio Mi Potevi Scagliar... (Otello)
Cielo e mar (La Gioconda)

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Contributions and discussion are very much welcome!

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Memberlist:

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philistine
Tuerin, a.k.a Threadking of Rossini

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Birkenhead
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I've never understood the crazes over Sutherland and Callas. Both strike me as very plain timbres. I don't much like Netrebko either, although she is the best eye candy there is with perhaps the exception of Olga Peretyatko.

Excellent idea. I confess I indulge Italian Comic Opera, and since you seem to snub these mostly yourself :mad: I am self-appointing myself first additional member and, if it's alright with you OP, Threadking of Rossini . It would be a pleasure to help those wanting to get into coloratura, Bel Canto and Rossini especially as I have focused my attention on him and am only just getting into Donizetti and soon Bellini. I am a sucker for his playful scalic runs and coloratura fireworks, orgasmic orchestral build-ups, Mozartian melodies and ridiculously affected yet glorious cadence conclusions.

*Unfinished*

-- --
Arias
-- --

-- --
Rossini
-- --
D'un bell'uso di Turchia (Il Turco In Italia)
Zitto Zitto, Piano Piano (La Cenerentola)
Dunque Io Son (Il Barbiere Di Siviglia)
Ah Quel Giorno Ognor Rammento (Semiramide)
Languir Per Una Bella (L'italiana in Algeri)
Largo Al Factotum (Il Barbiere Di Siviglia)
Vorrei Spiegarvi Il Giublio (La Cambiale Di Matrimonio)
Di Piacer Mi Balza Il Cor (La Gazza Ladra)
Non Piu Mesta (La Cenerentola)
La Speranza Piu Soave (Semiramide)
Cessa di Piu Resistere (Il Barbiere Di Siviglia)
Il Di Gia Cade (Semiramide)
Bel Raggio Lushinghier (Semiramide)
Terra Amica (Zelmira)
Sola Ritrovo Alfin La Bella Dea (Il Viaggio A Reims)
Conciosiacosache (La Cenerentola)
Mura Felici (La Donna Del Lago)

-- --
Donizetti
-- --
Ah Mes Amis (La Fille Du Regiment)
Una Furtiva Lagrima (Don Pasquale)
Basta Un Guardo (L'ajo nell'Imbrazzo)
Quel Guardo Il Cavaliere (Don Pasquale)
Figlia son d'un colonello (L'ajo nell'Imbrazzo)
Quel tuo sorriso, a padre (L'ajo nell'Imbrazzo)
Pronta Io So (Don Pasquale)
Cheti, Cheti, Immantinente (Don Pasquale)

-- --
Singers
-- --

-- --
Males
-- --
Lawrence Brownlee (Tenor)
Francisco Araiza (Tenor)
Bruce Ford (Tenor)
Juan Diego Florez (Tenor)
Raul Gimenez (Tenor)
Hermann Prey (Tenor)
Samuel Ramey (Bass)
Paolo Montarsolo (Bass)

-- --
Females
-- --
Teresa Berganza (Soprano)
Frederica Von Stade (Soprano)
Sumi Jo (Soprano)
Jennifer Larmore (Mezzo)
Marilyn Horne (Mezzo)
Ewa Podles (Contralto)
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philistine
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#3
Report Thread starter 7 years ago
#3
(Original post by Tuerin)
I've never understood the crazes over Sutherland and Callas. Both strike me as very plain timbres. I don't much like Netrebko either, although she is the best eye candy there is with perhaps the exception of Olga Peretyatko.

Excellent idea. I confess I indulge Italian Comic Opera, and since you seem to snub these mostly yourself :mad: I am self-appointing myself first additional member and, if it's alright with you OP, Threadking of Rossini . It would be a pleasure to help those wanting to get into coloratura, Bel Canto and Rossini especially as I have focused my attention on him and am only just getting into Donizetti and soon Bellini. I am a sucker for his playful scalic runs and coloratura fireworks, orgasmic orchestral build-ups, Mozartian melodies and ridiculously affected yet glorious cadence conclusions.

*Unfinished*

-- --
Arias
-- --

-- --
Rossini
-- --
D'un bell'uso di Turchia (Il Turco In Italia)
Zitto Zitto, Piano Piano (La Cenerentola)
Dunque Io Son (Il Barbiere Di Siviglia)
Ah Quel Giorno Ognor Rammento (Semiramide)
Languir Per Una Bella (L'italiana in Algeri)
Largo Al Factotum (Il Barbiere Di Siviglia)
Vorrei Spiegarvi Il Giublio (La Cambiale Di Matrimonio)
Di Piacer Mi Balza Il Cor (La Gazza Ladra)
Non Piu Mesta (La Cenerentola)
La Speranza Piu Soave (Semiramide)
Cessa di Piu Resistere (Il Barbiere Di Siviglia)
Il Di Gia Cade (Semiramide)
Bel Raggio Lushinghier (Semiramide)
Terra Amica (Zelmira)
Sola Ritrovo Alfin La Bella Dea (Il Viaggio A Reims)
Conciosiacosache (La Cenerentola)
Mura Felici (La Donna Del Lago)

-- --
Donizetti
-- --
Ah Mes Amis (La Fille Du Regiment)
Una Furtiva Lagrima (Don Pasquale)
Basta Un Guardo (L'ajo nell'Imbrazzo)
Quel Guardo Il Cavaliere (Don Pasquale)
Figlia son d'un colonello (L'ajo nell'Imbrazzo)
Quel tuo sorriso, a padre (L'ajo nell'Imbrazzo)
Pronta Io So (Don Pasquale)
Cheti, Cheti, Immantinente (Don Pasquale)

-- --
Singers
-- --

-- --
Males
-- --
Lawrence Brownlee (Tenor)
Francisco Araiza (Tenor)
Juan Diego Florez (Tenor)
Raul Gimenez (Tenor)
Rockwell Blake (Tenor)
Hermann Prey (Tenor)
Samuel Ramey (Bass)
Paolo Montarsolo (Bass)

-- --
Females
-- --
Teresa Berganza (Soprano)
Frederica Von Stade (Soprano)
Sumi Jo (Soprano)
Jennifer Larmore (Mezzo)
Marilyn Horne (Mezzo)
Ewa Podles (Contralto)
That's one hell of a post!

There are numerous recordings out there where both Sutherland, Callas (and many others) produce quite bland, forgettable performances. I tend to forget these, and concentrate on the greater, more celebrated ones. Oddly enough, I'm much more ruthless in my choice of tenors.

I wouldn't say I snub Italian comic opera, though I'm quite indifferent to many of the more famous examples. I freely admit that I haven't been a fan for that long, and so my taste might evolve over time. I may be converted just yet, though will never surrender to the heckles and catcalls of the insufferable, self-titled Wagnerians.

Consider yourself Threadking of Rossini, lest some greater partisan threaten your position.
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Birkenhead
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#4
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Perhaps I just haven't heard enough of them, then. But even on Casta Diva / Lucia etc I just haven't had the buzz that I get with other singers. Matter of taste I suppose - I know I'm not alone in doubting Callas at least! If there's a time to appreciate comic opera it is when you're young I suppose since it is a lesser kind of music to much else out there. Then again, having it as a guilty pleasure is leagues above what some people get away with nowadays!

- What's your guilty pleasure?
- Ben and Jerry's ice cream and films based on comic books. What's your guilty pleasure?
- Italian Comic Opera :rofl:

Anyways, this thread won't get far if we're quoting our huge texts haha!
I will improve my post tomorrow, bit lazy now. Haha thanks - I'll do my best to provide some kind of intro for people trying to get into Rossini.
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Slowbro93
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Ooh, an opera thread :teeth:

Atm, I'm in a production of Weill's "The Rise and Fall of the city of Mahagonny". A very interesting piece indeed :yep:
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yaboy
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#6
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#6
I cant sing...

This thread is perfect for me
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Birkenhead
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Spent the early morning wading my way through Tannhauser. It's difficult to adjust to such serious music after the colour and instantaneousness of opera buffa. Any guidance/opinions on Wagner?
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Mazzini
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Wagner :afraid:

Erm, I mean, hello :ninja:

I also love Italian comic opera :teehee: can I be Threadprince of it? :puppyeyes:

Also I bagsie Threadking of Baroque opera :awesome:

Favourite aria at the mo? I think it'd have to be Una voce poco fa from The Barber of Seville by Rossini. :yep:

If not that, it'd be Son nata a lagrimar from Giulio Cesare by Handel.
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Birkenhead
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(Original post by Mazzini)
Wagner :afraid:

Erm, I mean, hello :ninja:

I also love Italian comic opera :teehee: can I be Threadprince of it? :puppyeyes:

Also I bagsie Threadking of Baroque opera :awesome:

Favourite aria at the mo? I think it'd have to be Una voce poco fa from The Barber of Seville by Rossini. :yep:

If not that, it'd be Son nata a lagrimar from Giulio Cesare by Handel.
:hi:

Una Voce is great, what's your favourite interpretation? Here's a playlist of loads of interpretations which I've found useful. That's the great thing about performance art in general: it's made afresh and something new each time it's performed.

Philistine should definitely make you threadking of baroque opera, although he is currently inactive.
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Mazzini
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(Original post by Birkenhead)
:hi:

Una Voce is great, what's your favourite interpretation? Here's a playlist of loads of interpretations which I've found useful. That's the great thing about performance art in general: it's made afresh and something new each time it's performed.

Philistine should definitely make you threadking of baroque opera, although he is currently inactive.
I quite like Tereza Berganza's version of it, but also Nicoletta Curiel's version (although couldn't find a recording of her - we have it on CD).

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Birkenhead
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(Original post by Mazzini)
I quite like Tereza Berganza's version of it, but also Nicoletta Curiel's version (although couldn't find a recording of her - we have it on CD).

The Berganza is excellent - I love Ponnelle's productions. His Cenerentola is perfection.
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Habsburg
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(Original post by Birkenhead)
Spent the early morning wading my way through Tannhauser. It's difficult to adjust to such serious music after the colour and instantaneousness of opera buffa. Any guidance/opinions on Wagner?
I adore opere buffe, and have just recently started to get into Wagner, but I understand he isn't for everyone.

But try the Siegfried Idyll, or the Pilgrim's Chorus from Tannhäuser? They are my favourites so far.
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Plato's Trousers
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I went to Parsifal last night at the ROH. It was really fantastic. I have seen it many times (and it's my favorite opera of all), but this production takes some beating. Anyone esle seen it?

Here are some photos (official ROH ones, not mine)

http://www.flickr.com/photos/royalop...h/11170290136/
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