# In your opinion, What is the single greatest opera act ever written?



## Itullian (Aug 27, 2011)

As above...............


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## Danforth (May 12, 2013)

_Tristan und Isolde_ Act III


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## Couchie (Dec 9, 2010)

Tristan und Isolde Akt II


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## SiegendesLicht (Mar 4, 2012)

Tristan und Isolde Act I


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## SiegendesLicht (Mar 4, 2012)

No, that was a joke. Either _Die Walküre_ Act I or _Götterdämmerung_ Act I.


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## Mahlerian (Nov 27, 2012)

I'd go for Walküre Act III myself, or Wozzeck Act II (a symphony in itself).


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## HumphreyAppleby (Apr 11, 2013)

_Il tabarro_, act, well, the only act. The dramatic flow is perfect, the orchestration cohesive and gorgeous, the plot tautly constructed, the characterization well defined but not belabored, the through-composition seamless, and the climax inevitable yet spontaneous. In a single act, Puccini has managed to depict the monotonous yet desperate lives of the characters, take the lovers from furtive to reckless, Michele from a depressed husband to a murderer, and set it all in the never-ceasing impressionistic world of the prelude depicting the river Seine. No matter what emotions the characters express, no matter what might happen to them, they never change, except for the worse. Everything, both musically and dramatically, is washed back into the river. In short, Puccini has managed to depict poverty perfectly: the feeling that you are stuck, frozen, yet always sliding deeper into the mire, or in this case, the river. _Scorri, fiume eterno..._


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## mmsbls (Mar 6, 2011)

I agree with Mahlerian - Die Walküre Act III. The music is gorgeous and the drama is immensely powerful.


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## gellio (Nov 7, 2013)

mmsbls said:


> I agree with Mahlerian - Die Walküre Act III. The music is gorgeous and the drama is immensely powerful.


I third this. Also love Act 3 of Figaro.


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## Don Fatale (Aug 31, 2009)

I can't possibly choose, so here's another one for the discussion.

*Act IV of Don Carlos* (i.e. penultimate act) 
Ella Giammai m'amo
Philip/Inquisitor duet
The great quartet
O Don Fatale 
Posa's great aria in the prison

Lots of high drama, passion, self-sacrifice and bravery. I need to go and listen to it right now!


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## hpowders (Dec 23, 2013)

I'd go with Die Walküre, act one. Seeing it at the Met some 50 years ago.... well there was no turning back after the sword was pulled from the tree by Siegmund and the accompanying deliriously ecstatic music.


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## Bellinilover (Jul 24, 2013)

Of the operas I know well: Act II of _Rigoletto_. It's like an emotional roller coaster, and it contains my favorite baritone aria ever.

I've never heard _William Tell_, but didn't a contemporary of Rossini's say that Act III of that opera is the greatest ever written? I think he said something like, "God wrote the third act."


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## DaDirkNL (Aug 26, 2013)

Le Nozze di Figaro Act II. Otherwise act III.


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## dgee (Sep 26, 2013)

With all the Wagnerising going on I'm going to plug the second acts of Siegfreid and Gotterdammerung as being musically and dramatically very satisfying. Act 1 of Tosca is pretty good too. Seconding Mahlerian's Wozzeck Act 2


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## Aramis (Mar 1, 2009)

Bellinilover said:


> I've never heard _William Tell_, but didn't a contemporary of Rossini's say that Act III of that opera is the greatest ever written? I think he said something like, "God wrote the third act."


Donizetti praised it and Rossini himself counted it among the music that will consist his lasting legacy. It's great, as the whole opera, but not really something that would come to my mind as greatest single act ever. Then again, nothing comes my mind when I think about this question.


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## Jobis (Jun 13, 2013)

Tristan Act III

L'incoronazione Act II 

Cosi Fan Tutte Act I


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## Revenant (Aug 27, 2013)

Mirabile dictu, I'm with Aramis on this one. Not one comes to mind, because too many come to mind. An embarassment of riches which is, I think, a good thing perhaps.


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## mamascarlatti (Sep 23, 2009)

I love a lot of the above. I'm going to add Act 2 of Tosca and Act 2 of La Fanciulla del West.


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## Volve (Apr 14, 2013)

Walküre act II, closely tied with act III though...


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## Itullian (Aug 27, 2011)

Agree with Walkure lll,
but must add Meistersinger lll.


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## rgz (Mar 6, 2010)

La Traviata I
followed closely by
La Nozze I - IV
Lucia I, III
Manon III

Like, I don't understand how Traviata I isn't on more of these lists. Granted it's a bit overplayed and everyone's sick of the opera to a greater or lesser degree but every single song in the act is a showstopper, just perfect. It's kind of like Pink Floyd's _Dark Side of the Moon_ -- sure, it has the reputation of being their best work and it's almost cliche to consider it as such but you know what -- it lives up to the reputation


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## SiegendesLicht (Mar 4, 2012)

Itullian said:


> ...but must add Meistersinger lll.


Yes! So much good music there: the prelude, the Wahn-monologue, Walther composing the Prize Song, the Quintet, the music and dance on the festival meadow, Beckmesser's hilarious rendition of Walther's song, Walther performing the Prize Song, Sachs' final speech and finale... did I miss anything?


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## Cavaradossi (Aug 2, 2012)

Pressed for an answer, I'd say La Boheme Acts I & II (since the drama is continuous chronologically and they are typically performed back to back without an intermission).

I can't think of any single sequence that better demonstrates the power and range of opera to depict comedy, romance, and drama, from intimate pathos to stage-filling spectacle. By the time the check comes at the Cafe Momus, I just want time to stop so that it can be Christmas Eve in the Latin Quarter a little bit longer.


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## deggial (Jan 20, 2013)

I'm with Aramis and Revenant on this, a stumping question. Can't say I think of opera in terms of acts... reprehensible acts, perhaps


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## PeachlovinBari (Dec 7, 2013)

2nd or 3rd act of Die Walkure
Last act of Boris Godunov
4th act of Don Carlo in the 5 act version


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## Winterreisender (Jul 13, 2013)

If I am allowed to vote for a one-act opera, I would possibly say _Das Rheingold_.

If not, _Meistersinger_ Act III is a perpetual favourite of mine. I just love the "morgenlich leuchtend" song. Even the shamefully nationalistic closing speech doesn't bother me too much, because the music is so rousing.

Or _Aida_ Act II is also a good one, as it is full of wonderful melodies.


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## GioCar (Oct 30, 2013)

Die Walkure act II (IMO the true center of the entire Ring) or Le nozze di Figaro act II ("dramatically" perfect)


I agree with Mahlerian re. Wozzeck act II


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## schigolch (Jun 26, 2011)

My favorite is the first act of _Norma_.


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## Aramis (Mar 1, 2009)

Winterreisender said:


> If not, _Meistersinger_ Act III is a perpetual favourite of mine. I just love the "morgenlich leuchtend" song. Even the shamefully nationalistic closing speech doesn't bother me too much, because the music is so rousing.


The shamefully nationalistic speech is in Lohengrin. In Meistersinger it's just nationalistic speech.


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## SiegendesLicht (Mar 4, 2012)

Winterreisender said:


> If not, _Meistersinger_ Act III is a perpetual favourite of mine. I just love the "morgenlich leuchtend" song. Even the shamefully nationalistic closing speech doesn't bother me too much, because the music is so rousing


I've been asking this question many times and many people on various occassions, but I've never got a satisfying answer: just what is shameful about a wish to uphold and preserve your native cultural tradition (musical as in case of Die Meistersinger or any other)? Or is it only the Germans that have no right to such a wish? I'm pretty sure you've read that part of the libretto, and are not simply repeating something somebody else has said, so tell me, what do you find shameful about it?

And the music... it makes me feel for a few short minutes as if all is well with the world...


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## bigshot (Nov 22, 2011)

Walkure Act 1. It's a whole mini opera unto itself. No bridging stuff. No filler.


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## Rocco (Nov 25, 2013)

I can't believe there's been no mention of Beethoven's Fidelio yet. I'm not that big on opera overall, but just recently began enjoying Fidelio. My vote goes to Fidelio.


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## SixFootScowl (Oct 17, 2011)

Having not seen that many operas and having foggy memories of them (about 8 or so back in the 1980s) I can only talk about Fidelio which I have been studying lately. Act 2 of Fidelio if absolutely wonderful!


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## MAuer (Feb 6, 2011)

SiegendesLicht said:


> I've been asking this question many times and many people on various occassions, but I've never got a satisfying answer: just what is shameful about a wish to uphold and preserve your native cultural tradition (musical as in case of Die Meistersinger or any other)? Or is it only the Germans that have no right to such a wish? I'm pretty sure you've read that part of the libretto, and are not simply repeating something somebody else has said, so tell me, what do you find shameful about it?


I don't think that speech would have such negative associations if the Nazis had never come to power. I wonder how we would react if the name of some other nationality were substituted for "German" -- "French," "English," "italian" -- take your pick. I suspect it wouldn't sound quite as bad to us.


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## ahammel (Oct 10, 2012)

SiegendesLicht said:


> I've been asking this question many times and many people on various occassions, but I've never got a satisfying answer: just what is shameful about a wish to uphold and preserve your native cultural tradition (musical as in case of Die Meistersinger or any other)?


Nothing whatever.

What's shameful is then going on to say, (as Wagner does, through Sachs' mouth) "and therefore, watch out for the _evil tricks_ of those _nasty foreigners_, who are clearly all out to _destroy_ German art because foreign art is _obviously inferior_, and by the way, have I made it obvious enough that I'm talking about _Giacomo Meyerbeer_?"

I would have nothing whatsoever to object to in the entire speech were it not for these lines:



> Beware! *Evil tricks threaten us*:
> if the German people and kingdom should one day decay,
> under a false, foreign rule
> soon no prince would understand his people;
> ...


Anyhow, back to the actual topic: I think _Mesitersinger_ II takes some beating as far as carefully-constructed total chaos goes.


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## schigolch (Jun 26, 2011)

Well, German Nationalism was not born with Hitler and the Nazi Party, and there was a Second Reich before the Third. Next year we will commemorate the centennial of the Great War....

Having said that, I think music comes always first talking about Opera, and I don't think the passage itself: (not my translation)

_That our Masters have cared for it_
_rightly in their own way,_
_cherished it truly as they thought best,_
_that has kept it genuine:_
_if it did not remain aristocratic as of old,_
_when courts and princes blessed it,_
_in the stress of evil years_
_it remained German and true;_
_and if it flourished nowhere_
_but where all is stress and strain,_
_you see how high it remained in honour -_
_what more would you ask of the Masters?_
_Beware! Evil tricks threaten us:_
_if the German people and kingdom should one day decay,_
_under a false, foreign rule_
_soon no prince would understand his people;_
_and foreign mists with foreign vanities_
_they would plant in our German land;_
_what is German and true none would know,_
_if it did not live in the honour of German Masters._
_Therefore I say to you:_
_honour your German Masters,_
_then you will conjure up good spirits!_
_And if you favour their endeavours,_
_even if the Holy Roman Empire_
_should dissolve in mist,_
_for us there would yet remain_
_holy German Art!_

is really offensive at all.


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## Jobis (Jun 13, 2013)

schigolch said:


> Well, German Nationalism was not born with Hitler and the Nazi Party, and there was a Second Reich before the Third. Next year we will commemorate the centennial of the Great War....
> 
> Having said that, I think music comes always first talking about Opera, and I don't think the passage itself: (not my translation)
> 
> ...


just replace German with 'British' and foreign with 'New Labour' and you've got a real libretto!

:lol:


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## MAuer (Feb 6, 2011)

schigolch said:


> Well, German Nationalism was not born with Hitler and the Nazi Party, and there was a Second Reich before the Third. Next year we will commemorate the centennial of the Great War....


_Die Meistersinger_ was written just a couple of years before the various German states were united in a single empire. I think Sachs' address needs to be viewed in that particular context -- of people in these various kindgoms, principalities, duchies, and so forth beginning to think of themselves as a single nation and to define what being "German" was.


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## Fortinbras Armstrong (Dec 29, 2013)

It's not an act per se, but the scene where the Commendatore comes to dinner in _Don Giovanni_ is my favorite.


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## Jobis (Jun 13, 2013)

Act II of Saint François is just incredible. So are the other two but I think the second is my favourite because its so subtle.


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## Bellinilover (Jul 24, 2013)

ClutchDisc said:


> I can't believe there's been no mention of Beethoven's Fidelio yet. I'm not that big on opera overall, but just recently began enjoying Fidelio. My vote goes to Fidelio.


It's one of my favorite operas. Act II is especially great.

I agree as well with the person upthread who said that Act I of _La Traviata_ is perfect. It's succint and accomplishes everything it needs to accomplish (and of course it contains those three great musical numbers: the Brindisi, the duet, and Violetta's aria and cabaletta). It was Professor Robert Greenberg in his lecture series on Verdi for the American educational company The Great Courses who first made me really aware of this.


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## Revenant (Aug 27, 2013)

Ok, I'll bite even though I wrote earlier that I couldn't choose a favorite act. And I still can't, but the one act or scene in opera that for some mysterious reason affects me the most on a purely emotional level is the Council Chamber scene in Simon Boccanegra. All those warring, tempestuous emotions coming together, Simon's heartrending appeal to the plebeians and patricians of Genoa, and the awed response by the chorus and Amelia/Maria I find entrancing and soul-cleansing.


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## Aramis (Mar 1, 2009)

Revenant said:


> Ok, I'll bite even though I wrote earlier that I couldn't choose a favorite act. And I still can't, but the one act or scene in opera that for some mysterious reason affects me the most on a purely emotional level is the Council Chamber scene in Simon Boccanegra. All those warring, tempestuous emotion coming together, Simon's heartrending appeal to the plebeians and patricians of Genoa, and the awed response by the chorus and Amelia/Maria is entrancing and soul-cleansing.


There are certainly some weaknessess though. For example, you get the very traditional operatic ridiculousness from Amelia when Boccanegra says in front of enraged crowd: "alright, girl, we have to settle something - tell us how you were kidnapped!" and in these circumstances she starts writing some teenage girl poetry, "listen, blood thirsty peasants ,and you honourable council, whose meeting was just interrupted by riot: one day, I was walking and gazing on the sea, draming of my lovely Gabriele Adorno as the breeze carresed my..." etc. Always makes me laugh.


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## Revenant (Aug 27, 2013)

Aramis said:


> There are certainly some weaknessess though. For example, you get the very traditional operatic ridiculousness from Amelia when Boccanegra says in front of enraged crowd: "alright, girl, we have to settle something - tell us how you were kidnapped!" and in these circumstances she starts writing some teenage girl poetry, "listen, blood thirsty peasants ,and you honourable council, whose meeting was just interrupted by riot: one day, I was walking and gazing on the sea, draming of my lovely Gabriele Adorno as the breeze carresed my..." etc. Always makes me laugh.


Ah, Aramis, Arrigo Boito would have loved you. You remind me of Robin Goodfellow, also known as Puck, who was known to pop up and appear seemingly out of nowhere when the right (or wrong) person stamped his foot on the ground.


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## Marschallin Blair (Jan 23, 2014)

Jobis said:


> Tristan Act III
> 
> L'incoronazione Act II
> 
> Cosi Fan Tutte Act I


Or, say, Tristan, Act II. . . "Einsam wachend in der Nacht," anyone?-- absolutely enchanting; especially with Blanche Thebom as Brangane in the '53 Furtwangler/Philharmonia rendition.









The symphonic synthesis of the love music from Act II with Charles Gehardt and the National Philharmonic-- just the orchestral music and not the singing unfortunately-- is beautifully done; and the recording quality?-- It's the best souding Wagner recording I've ever heard. . . anywhere.


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## kangxi (Jan 24, 2014)

First, thanks to the poster who recommended Norma - it made me realise I hadn't heard it for a while so it's playing as I write. (The Serafin/Callas version.)
Re the greatest single act, I'd have to go for Valkyrie Act 1 - with one proviso. It must be the version by Melchior & Lehmann. As a poster long ago on the old alt rec music BB said: as Melchior sings Wääääälse! Wääääälse! at top volume you can just hear in the background the rear wall of the studio crumbling into dust.


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## alan davis (Oct 16, 2013)

Tristan Act 3
Walkure Act 3
La Boheme Act 3......... (and dozens of others).


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## Notung (Jun 12, 2013)

Gotterdammerung Act III: Siegfried's Death (the most moving death soliloquy in all stage drama), the follow-up Funeral March, and Brunnhilde's Immolation. The tragedy of man's greedy stupidity is consummated in the destruction of his gilded wealth and the collapse of his own machinations. The world then ends, with its false idols burning in the fire that they brought upon themselves, with the Valhalla motif self-destructing and the redemption motif playing with tragic yet hopeful yearning.

Light fare!


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## Seattleoperafan (Mar 24, 2013)

I am torn between Gotterdammerung Act 111 and Tristan Act 1. Both contain monumentality and intimacy with an abundance of great music and drama. To further confuse things Act II of Aida with great singers can be over the top fabulous. Don't think less of me for my indecision here.


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## BiggusD (Oct 2, 2013)

Gotterdammerung Act III.


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