# A new opera blog



## Meyerbeer Smith (Mar 25, 2016)

I've started a new blog about opera:

https://operascribe.com/

So far there's only the welcome post; I'll put the first opera post up later today.

As I go, I'll add a page on each composer, and useful resources (including translations of contemporary, French, reviews).

I'm setting myself one rule: I have a list of 700 odd operas composed between the mid-18th century and today, from around the world. I'm using a random choice generator and will listen to / watch whatever choice it generates. I like the surprise - will it be 20th century American, Trovatore, or Maillart?

Weirdly, among the first five it's given me are two composers I've championed recently, a historical biggie, anda CD I bought recently. Strange the fates!

Venez, amis! Or in colloquial English: Check it, peeps!


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## Pugg (Aug 8, 2014)

Let the action start, always a joy to reed your story's .


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## nina foresti (Mar 11, 2014)

Very impressive. Good luck to you.
(Don't forget Boito!)


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## Judith (Nov 11, 2015)

SimonTemplar said:


> I've started a new blog about opera:
> 
> https://operascribe.com/
> 
> ...


Very interesting. Good luck! Blogger myself and in process of publishing Brahms!


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## rspader (May 14, 2014)

Good luck with this project. I just added it to my RSS feed so that I don't miss any new postings.

I love the idea of a random choice generator as I do that to pick the next book to read. Keep 20 books on a shelf, roll a 20 sided die to pick a book to read, then put a new book in the empty slot. (But getting off topic here.)

Looking forward to reading your blog.


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## Pugg (Aug 8, 2014)

Rossini looks very good, you picked the right letter type, it's good reading.


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## Meyerbeer Smith (Mar 25, 2016)

Thanks everyone! Here's _Le comte Ory_. The second post will go up tomorrow; it's a story about matricide, just in time for Mother's Day.


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## Meyerbeer Smith (Mar 25, 2016)

Judith said:


> Very interesting. Good luck! Blogger myself and in process of publishing Brahms!


What's the address of your blog?


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## Meyerbeer Smith (Mar 25, 2016)

nina foresti said:


> Very impressive. Good luck to you.
> (Don't forget Boito!)


I won't! Both _Mefistofele_ and _Nerone_ are on the list, as are his collaborations with Ponchielli and Verdi.


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## Judith (Nov 11, 2015)

SimonTemplar said:


> What's the address of your blog?


Drafted at the moment but going to be posted on TC blog very soon!


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## Meyerbeer Smith (Mar 25, 2016)

Judith said:


> Drafted at the moment but going to be posted on TC blog very soon!


I look forward to reading it!


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## Meyerbeer Smith (Mar 25, 2016)

Next post: https://operascribe.com/2017/05/13/210/.


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## Meyerbeer Smith (Mar 25, 2016)

Third post: https://operascribe.com/2017/05/20/voyages-of-discovery/


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## Pugg (Aug 8, 2014)

SimonTemplar said:


> Third post: https://operascribe.com/2017/05/20/voyages-of-discovery/


Are you in Europe already?


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## Meyerbeer Smith (Mar 25, 2016)

Pugg said:


> Are you in Europe already?


Not yet; I leave in a fortnight.


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## Judith (Nov 11, 2015)

SimonTemplar said:


> I look forward to reading it!


Found your blog. Interesting reading! Mine now published on TC blog pages!


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## Meyerbeer Smith (Mar 25, 2016)

Judith said:


> Found your blog. Interesting reading! Mine now published on TC blog pages!


Thanks! Do you have a link to your blog? ... TC blog pages?


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## SixFootScowl (Oct 17, 2011)

SimonTemplar said:


> Thanks! Do you have a link to your blog? ... TC blog pages?


Just click on the user name and select Blog Entries.


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## Meyerbeer Smith (Mar 25, 2016)

An opera based on Shakespeare's Merry Wives of Windsor: https://operascribe.com/2017/05/21/faith-thou-hast-some-crotchets-in-thy-head-now/

(Two more French operas - one on Greek mythology, another with a famous high note - and then a Donizetti.)


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## Bettina (Sep 29, 2016)

I'm enjoying your blog posts. I know you said that you were choosing many of the operas randomly, but would you be open to taking requests? I love French operas with exotic themes, and I'd love to see some posts on the ones that don't get enough attention: Massenet's Hérodiade, Bizet's Djamileh, Saint-Saëns' La Princesse Jaune...that sort of thing. I love the exotic music and colorful spectacles in those types of operas (although, as many scholars have pointed out, there probably is something ideologically objectionable about such "Orientalist" works!!)


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## Meyerbeer Smith (Mar 25, 2016)

Certainly! I've listened to the Princesse jaune recently so can work something up (I'm going to pan another Saint-Saëns, so being more positive will be nice); Djamileh is quite short (an hour); and Herodiade gives me an excuse to listen to Massenet!


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## Bettina (Sep 29, 2016)

SimonTemplar said:


> Certainly! I've listened to the Princesse jaune recently so can work something up (I'm going to pan another Saint-Saëns, so being more positive will be nice); Djamileh is quite short (an hour); and Herodiade gives me an excuse to listen to Massenet!


Great! Thanks for agreeing to take these on. I'm looking forward to it!


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## Meyerbeer Smith (Mar 25, 2016)

Bettina said:


> Great! Thanks for agreeing to take these on. I'm looking forward to it!


My pleasure! Je suis doux, je suis bon...


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## Meyerbeer Smith (Mar 25, 2016)

Next post - Helen of Troy: https://operascribe.com/2017/05/22/poire-helene/


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## Judith (Nov 11, 2015)

SimonTemplar said:


> Next post - Helen of Troy: https://operascribe.com/2017/05/22/poire-helene/


Very interesting . Enjoyed that!

I'm thinking my next one might be on Schumanns side of the story of Schumanngate!


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## Meyerbeer Smith (Mar 25, 2016)

Bettina said:


> I'm enjoying your blog posts. I know you said that you were choosing many of the operas randomly, but would you be open to taking requests? I love French operas with exotic themes, and I'd love to see some posts on the ones that don't get enough attention: Massenet's Hérodiade, Bizet's Djamileh, Saint-Saëns' La Princesse Jaune...that sort of thing. I love the exotic music and colorful spectacles in those types of operas (although, as many scholars have pointed out, there probably is something ideologically objectionable about such "Orientalist" works!!)


Hi Bettina, here's the review of _Djamileh_ and the _Princesse jaune_: https://operascribe.com/2017/05/27/opera-in-the-orient-nuff-said/
I'd like to know what you think of my reading of Clément's comments.


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## Bettina (Sep 29, 2016)

SimonTemplar said:


> Hi Bettina, here's the review of _Djamileh_ and the _Princesse jaune_: https://operascribe.com/2017/05/27/opera-in-the-orient-nuff-said/
> I'd like to know what you think of my reading of Clément's comments.


Great post! Thanks for writing about these operas. Clément's point definitely is interesting, and I like your reading of it. As Clément pointed out, many Western evocations of exoticism are inauthentic, using Western musical forms with a bit of local color sprinkled on top. Reyer made a similar point in the passage that you quoted, where he observed that Saint-Saëns adapted "eastern-style themes … to accepted western notions of harmony and rhythm." However, Reyer seemed to approve of this adaptation more than Clément, who was obviously troubled by the Western bias inherent in these adaptations.

The projection of Western values onto exotic cultures probably shapes the operatic _plots _as well as the music. The plot of Djamileh, for example, seems to be based on a Western conception of love and fidelity. I'm not sure if a harem slave would ever actually fall in love with her master - this seems to be a Western fantasy of harem life, rooted in European notions of true love. In many Middle Eastern cultures (at least back then), arranged marriages and polygamy were the norm, in contrast to our Western beliefs in monogamy and "finding one's other half."

Thanks again for your thought-provoking, witty, and insightful blog post!


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## Meyerbeer Smith (Mar 25, 2016)

Bettina said:


> Great post! Thanks for writing about these operas. Clément's point definitely is interesting, and I like your reading of it. As Clément pointed out, many Western evocations of exoticism are inauthentic, using Western musical forms with a bit of local color sprinkled on top. Reyer made a similar point in the passage that you quoted, where he observed that Saint-Saëns adapted "eastern-style themes … to accepted western notions of harmony and rhythm." However, Reyer seemed to approve of this adaptation more than Clément, who was obviously troubled by the Western bias inherent in these adaptations.
> 
> The projection of Western values onto exotic cultures probably shapes the operatic _plots _as well as the music. The plot of Djamileh, for example, seems to be based on a Western conception of love and fidelity. I'm not sure if a harem slave would ever actually fall in love with her master - this seems to be a Western fantasy of harem life, rooted in European notions of true love. In many Middle Eastern cultures (at least back then), arranged marriages and polygamy were the norm, in contrast to our Western beliefs in monogamy and "finding one's other half."
> 
> Thanks again for your thought-provoking, witty, and insightful blog post!


Glad you liked it, and thank you for your perceptive comments!

I was in India for a few months last year, and I was struck by the different attitude towards marriage and romance. Marriages in the West are based on romantic notions of "true love"; after the honeymoon period, marriages often end in divorce. The divorce rate in India is a lot lower, because many of the marriages are arranged; husband and wife have to work together to make the marriage successful. (Western "true love" marriages are becoming more common, though.)

A lot of operas, of course, have arranged marriages - which are invariably tragic. (See _Lucia_.) Is there any opera in which an arranged marriage ends happily?


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## Meyerbeer Smith (Mar 25, 2016)

Next review: https://operascribe.com/2017/05/29/singing-coach/


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## Meyerbeer Smith (Mar 25, 2016)

My first Donizetti review - _Marino Faliero_: https://operascribe.com/2017/05/29/doge-y-business/

Has an astonishing set design.


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## Pugg (Aug 8, 2014)

SimonTemplar said:


> My first Donizetti review - _Marino Faliero_: https://operascribe.com/2017/05/29/doge-y-business/
> 
> Has an astonishing set design.


Did you ever seen the DVD productions out there Simon?


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## Meyerbeer Smith (Mar 25, 2016)

Pugg said:


> Did you ever seen the DVD productions out there Simon?


No, but I've seen a few clips on YouTube.


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## Meyerbeer Smith (Mar 25, 2016)

Bettina said:


> I'm enjoying your blog posts. I know you said that you were choosing many of the operas randomly, but would you be open to taking requests? I love French operas with exotic themes, and I'd love to see some posts on the ones that don't get enough attention: Massenet's Hérodiade, Bizet's Djamileh, Saint-Saëns' La Princesse Jaune...that sort of thing. I love the exotic music and colorful spectacles in those types of operas (although, as many scholars have pointed out, there probably is something ideologically objectionable about such "Orientalist" works!!)


And here's _Hérodiade_: https://operascribe.com/2017/05/30/i-want-his-head-herod/

Tomorrow, I'll put up a maddening Donizetti. I'll put up two shorter reviews - Méhul's _Stratonice_, and Paisiello's _Nina_ - probably next week. That'll make it a dozen reviews. Now that I've got enough, I plan to post weekly or twice weekly.

Over the next month, I have very rare Halévy and Saint-Saëns operas, a Rossini rescue opera ... and Salve thwack regina thud.


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## Jemarchesurtousleschemins (Apr 3, 2017)

simontemplar said:


> and here's _hérodiade_: https://operascribe.com/2017/05/30/i-want-his-head-herod/
> 
> tomorrow, i'll put up a maddening donizetti. I'll put up two shorter reviews - méhul's _stratonice_, and paisiello's _nina_ - probably next week. That'll make it a dozen reviews. Now that i've got enough, i plan to post weekly or twice weekly.
> 
> Over the next month, i have very rare halévy and saint-saëns operas, a rossini rescue opera ... And salve thwack regina thud.


dialogues des carmelites!!!!!!!!!!!!!


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## Meyerbeer Smith (Mar 25, 2016)

Jemarchesurtousleschemins said:


> dialogues des carmelites!!!!!!!!!!!!!


Sphinx étonnant! Chapeau!


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## Meyerbeer Smith (Mar 25, 2016)

Donizetti's Pazzi per progetto: https://operascribe.com/2017/05/31/maddening/

Mehul's Stratonice: https://operascribe.com/2017/05/31/heavy-mehul/


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## Jemarchesurtousleschemins (Apr 3, 2017)

SimonTemplar said:


> Sphinx étonnant! Chapeau!


I'm sorry, but can you translate to English?


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## Meyerbeer Smith (Mar 25, 2016)

Jemarchesurtousleschemins said:


> I'm sorry, but can you translate to English?


I'm riffing off a line in Massenet's Manon, where Des Grieux calls her an "astonishing sphinx" - and your riddle solving.

"Chapeau" means "well done" (I take my hat off to you).


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## Jemarchesurtousleschemins (Apr 3, 2017)

SimonTemplar said:


> I'm riffing off a line in Massenet's Manon, where Des Grieux calls her an "astonishing sphinx" - and your riddle solving.
> 
> "Chapeau" means "well done" (I take my hat off to you).


Thank you so much!!! Very much appreciated.


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## SixFootScowl (Oct 17, 2011)

SimonTemplar said:


> I'm setting myself one rule: *I have a list of 700 odd operas composed between the mid-18th century and today, from around the world. *I'm using a random choice generator and will listen to / watch whatever choice it generates. I like the surprise - will it be 20th century American, Trovatore, or Maillart?


Would this one happen to be in your list?

Cimarosa: Chi dell'altrui si veste, presto si spoglia


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## Meyerbeer Smith (Mar 25, 2016)

Florestan said:


> Would this one happen to be in your list?
> 
> Cimarosa: Chi dell'altrui si veste, presto si spoglia


No, but Il ritorno di Don Calandrino; I due baroni di Rocca Azzurra; Il marito disperato; and Il matrimonio segreto are.

I'll add Chi dell'altrui si veste, presto si spoglia. Why this one, by the way?


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## SixFootScowl (Oct 17, 2011)

SimonTemplar said:


> No, but Il ritorno di Don Calandrino; I due baroni di Rocca Azzurra; Il marito disperato; and Il matrimonio segreto are.
> 
> I'll add Chi dell'altrui si veste, presto si spoglia. Why this one, by the way?


This one piqued my curiosity after someone posted having purchased it. I don't know if I would even like the story because I could not find a synopsis in English, but the music is nice. No need for you to pursue it unless it interests you enough to add it to your list. Problem is I think there may only be that one recording and so it is pretty unavailable but for the You Tube posting. Also, probably not out on DVD.

I do have Il matrimonio segreto on both CD and DVD and like it a lot.


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## Jemarchesurtousleschemins (Apr 3, 2017)

Say, what _is_ your complete list?


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## Meyerbeer Smith (Mar 25, 2016)

Jemarchesurtousleschemins said:


> Say, what _is_ your complete list?


O God.

1.	Le chalet (Adam)
2.	Le farfadet (Adam)
3.	Le toréador (Adam)
4.	Si j'étais roi (Adam)
5.	The Tempest (Adès) MET
6.	Noé (Arrieu)
7.	Fra Diavolo (Auber)
8.	Gustave III (Auber)
9.	Haydée (Auber)
10.	La muette de Portici (Auber)
11.	L'ambassadrice (Auber)
12.	Le cheval de bronze (Auber)
13.	Le domino noir (Auber)
14.	Les diamants de la couronne (Auber)
15.	Manon Lescaut (Auber)
16.	Gillette de Narbonne (Audran)
17.	The Bohemian Girl (Balfe)
18.	Antony and Cleopatra (Barber)
19.	Vanessa (Barber)
20.	Bluebeard's Castle (Bartók)
21.	Fidelio (Beethoven)
22.	Beatrice di Tenda (Bellini)
23.	Ernani fragments (Bellini)
24.	I Capuleti e I Montecchi (Bellini)
25.	I puritani (Bellini)
26.	Il pirata (Bellini)
27.	La sonnambula (Bellini)
28.	La straniera (Bellini)
29.	Norma (Bellini)
30.	Zaira (Bellini)
31.	Lulu (Berg)
32.	Wozzeck (Berg)
33.	Béatrice et Bénédict (Berlioz)
34.	Benvenuto Cellini (Berlioz)
35.	La damnation de Faust (Berlioz)
36.	Les Troyens (Berlioz)
37.	Le Carrosse du Saint-Sacrement (Lord Berners)
38.	Candide (Bernstein)
39.	Esmeralda (Bertin)
40.	Carmen (Bizet)
41.	Don Procopio (Bizet)
42.	Ivan IV (Bizet)
43.	Le Docteur Miracle (Bizet)
44.	Les pêcheurs de perles (Bizet)
45.	La jolie fille de Perth (Bizet)
46.	Macbeth (Bloch)
47.	La dame blanche (Boieldieu)
48.	Le calife de Bagdad (Boieldieu)
49.	Mefistofele (Boito)
50.	Nerone (Boito)
51.	Prince Igor (Borodin)
52.	A Midsummer Night's Dream (Britten)
53.	Billy Budd (Britten)
54.	Gloriana (Britten)
55.	The Turn of the Screw (Britten)
56.	Death in Venice (Britten) MET
57.	Peter Grimes (Britten) MET
58.	Don Bucefalo (Cagnoni)
59.	Riccardo III (Canepa)
60.	Dejanice (Catalani)
61.	Edema (Catalani)
62.	La Wally (Catalani)
63.	Loreley (Catalani)
64.	Gwendoline (Chabrier)
65.	Le roi malgré lui (Chabrier)
66.	L'étoile (Chabrier)
67.	Une education manquée / Fisch Ton Kan / Vaucochard et fils 1er (Chabrier)
68.	David et Jonathas (M-A Charpentier)
69.	Médée (M-A Charpentier)
70.	Louise (G Charpentier)
71.	Le roi Arthus (Chausson)
72.	Eliza (Cherubini)
73.	Les deux journées (Cherubini)
74.	Lodoïska (Cherubini)
75.	Medea / Médée (Cherubini)
76.	Adriana Lecouvreur (Cilea)
77.	Gina (Cilea)
78.	Gloria (Cilea)
79.	L'Arlesiana (Cilea)
80.	Chi dell'altrui si veste, presto si spoglia (Cimarosa)
81.	Il ritorno di Don Calandrino (Cimarosa)
82.	I due baroni di Rocca Azzurra (Cimarosa)
83.	Il marito disperato (Cimarosa)
84.	Il matrimonio segreto (Cimarosa)
85.	The Ghosts of Versailles (Corigliano)
86.	Der Barbier von Bagdad (Cornelius)
87.	Polyphème (Cras)
88.	Colombe (Damase)
89.	Kamenny Gost (Dargomyzhsky)
90.	Herculanum (David)
91.	Lalla-Roukh (David)
92.	Pelléas et Mélisande (Debussy)
93.	Lakmé (Delibes)
94.	Deux vieilles gardes (Delibes)
95.	L'écossais de Chatou (Delibes)
96.	Le serpent à plumes (Delibes)
97.	L'omelette à la follembuche (Delibes)
98.	A Village Romeo and Juliet (Delius)
99.	Le vaisseau fantôme (Dietsch)
100.	Adelia (Donizetti)
101.	Alahor in Granata (Donizetti)
102.	Alina, regina di Golconda (Donizetti)
103.	Anna Bolena (Donizetti)
104.	Belisario (Donizetti)
105.	Betly (Donizetti)
106.	Caterina Cornaro (Donizetti)
107.	Dom Sébastien, roi de Portugal (Donizetti)
108.	Don Gregorio (Donizetti)
109.	Don Pasquale (Donizetti)
110.	Elisabetta (8 mesi in 2 ore) (Donizetti)
111.	Elisabetta al castello di Kenilworth (Donizetti)
112.	Elvida (Donizetti)
113.	Emilia di Liverpool (Donizetti)
114.	Enrico di Borgogna (Donizetti)
115.	Fausta (Donizetti)
116.	Francesca di Foix (Donizetti)
117.	Gabriella di Vergy (Donizetti)
118.	Gemma di Vergy (Donizetti)
119.	Gianni di Parigi (Donizetti)
120.	Gli esiliati in Siberia (8 mesi in 2 ore) (Donizetti)
121.	Il borgomastro di Saardam (Donizetti)
122.	Il campanello (Donizetti)
123.	Il diluvio universale (Donizetti)
124.	Il fortunato inganno (Donizetti)
125.	Il furioso all'isola di San Domingo (Donizetti)
126.	Il giovedì grasso (Donizetti)
127.	Il paria (Donizetti)
128.	Il Pigmalione (Donizetti)
129.	Imelda de' Lambertazzi (Donizetti)
130.	La favorite (Donizetti)
131.	La fille du régiment (Donizetti)
132.	La lettera anonima (Donizetti)
133.	La romanzesca e l'uomo nero (Donizetti)
134.	La zingara (Donizetti)
135.	L'ajo nell'imbarrazzo (Donizetti)
136.	L'assedio di Calais (Donizetti)
137.	Le convenienze ed inconvenienze teatrali (Donizetti)
138.	Le duc d'Albe [aussi une version italienne] (Donizetti)
139.	L'elisir d'amore (Donizetti)
140.	Les martyrs (Donizetti)
141.	L'esule di Roma (Donizetti)
142.	Linda di Chamounix (Donizetti)
143.	L'ira di Achille (Donizetti)
144.	Lucie de Lammermoor (Donizetti)
145.	Lucia di Lammermoor (Donizetti)
146.	Lucrezia Borgia (Donizetti)
147.	Maria de Rudenz (Donizetti)
148.	Maria di Rohan (Donizetti)
149.	Maria Padilla (Donizetti)
150.	Maria Stuarda (Donizetti)
151.	Olivo e Pasquale (Donizetti)
152.	Parisina d'Este (Donizetti)
153.	Pia de' Tolomei (Donizetti)
154.	Pietro il Grande (Donizetti)
155.	Poliuto (Donizetti)
156.	Rita (Donizetti)
157.	Roberto Devereux (Donizetti)
158.	Rosmonda d'Inghilterra (Donizetti)
159.	Sancia di Castiglia (Donizetti)
160.	Torquato Tasso (Donizetti)
161.	Ugo, conte di Parigi (Donizetti)
162.	Zoraida di Granata (Donizetti)
163.	An American Tragedy (Dreiser) MET
164.	Ariane et Barbe-bleue (Dukas)
165.	Antar (Dupont)
166.	Armida (Dvorak)
167.	Čert a Káča (Dvorak)
168.	Dimitrij (Dvorak)
169.	Jakobín (Dvorak)
170.	Král a uhlíř (Dvorak)
171.	Rusalka (Dvorak)
172.	Šelma sedlák (The Cunning Peasant) (Dvorak)
173.	Vanda (Dvorak)
174.	Œdipe (Enesco)
175.	Pénélope (Fauré)
176.	Alessandro Stradella (Flotow)
177.	Martha (Flotow)
178.	Susannah (Floyd) MET
179.	Cristoforo Colombo (Franchetti)
180.	La figlia del iorio (Franchetti)
181.	Porgy and Bess (Gershwin)
182.	Andrea Chénier (Giordano)
183.	Fedora (Giordano)
184.	Il re (Giordano)
185.	La cena delle beffe (Giordano)
186.	Madame Sans-Gêne (Giordano)
187.	Mala vita (Giordano)
188.	Mese Mariano (Giordano)
189.	Siberia (Giordano)
190.	Akhnaten (Glass)
191.	Satyagraha (Glass)
192.	A Life for the Tsar (Glinka)
193.	Ruslan & Lyudmila (Glinka)
194.	Alceste (Gluck)
195.	Armide (Gluck)
196.	Iphigénie en Aulide (Gluck)
197.	Orfeo ed Euridice (Gluck)
198.	Paride ed Elena (Gluck)
199.	Dante (Godard)
200.	La vivandière (Godard)
201.	Die Königin von Saba (Goldmark)
202.	Merlin (Goldmark)
203.	Ein Wintermärchen (Goldmark)
204.	Fosca (Gomes)
205.	Il Guarany (Gomes)
206.	Lo schiavo (Gomes)
207.	Maria Tudor (Gomes)
208.	Salvator Rosa (Gomes)
209.	Cinq-Mars (Gounod)
210.	Faust (Gounod)
211.	La colombe (Gounod)
212.	La reine de Saba (Gounod)
213.	Le médecin malgré lui (Gounod)
214.	Mireille (Gounod)
215.	Philémon et Baucis (Gounod)
216.	Polyeucte (Gounod)
217.	Roméo et Juliette (Gounod)
218.	Sapho (Gounod)
219.	Céphale et Procris (Grétry)
220.	Guillaume Tell (Grétry)
221.	La caravane du Caire (Grétry)
222.	L'amant jaloux (Grétry)
223.	Le magnifique (Grétry)
224.	Le tableau parlant (Grétry)
225.	Lucile (Grétry)
226.	Richard Cœur-de-lion (Grétry)
227.	Charles VI (Halévy)
228.	Clari (Halévy)
229.	La juive (Halévy)
230.	La magicienne (Halévy)
231.	L'éclair (Halévy)
232.	Noé (Halévy)
233.	Ciboulette (Hahn)
234.	Ariodante (Handel)
235.	Belshazzar (Handel)
236.	Rinaldo (Handel)
237.	Rodelinda (Handel) MET
238.	Le Pré-aux-clercs (Herold)
239.	Zampa (Herold)
240.	Le muletier (Herold)
241.	Les chevaliers de la table ronde (Hervé)
242.	Undine (Hoffmann)
243.	The Perfect Fool (Holst)
244.	Savitri (Holst)
245.	At the Boar's Head (Holst)
246.	Antigone (Honegger)
247.	Judith (Honegger)
248.	L'aiglon (Honegger & Ibert)
249.	Hänsel und Gretel (Humperdinck)
250.	Königskinder (Humperdinck)
251.	Dimitri (Joncières)
252.	Das Nachtlager in Granada (Kreutzer)
253.	La jacquerie (Lalo)
254.	Le roi d'Ys (Lalo)
255.	Paul et Virginie (Le Sueur)
256.	Ali Baba (Lecocq)
257.	Le petit duc (Lecocq)
258.	La fille de Mme Angot (Lecocq)
259.	Das Land des Lächelns (Léhar)
260.	Der Graf von Luxemburg (Léhar)
261.	Der Roland von Berlin (Leoncavallo)
262.	Edipo Re (Leoncavallo
263.	Gli Zingari (Leoncavallo
264.	I Medici (Leoncavallo
265.	La Bohème (Leoncavallo)
266.	Mameli (Leoncavallo
267.	Pagliacci (Leoncavallo
268.	Zazà (Leoncavallo
269.	L'oracolo (Leoni)
270.	Der Waffenschmied (Lortzing)
271.	Der Wildschütz (Lortzing)
272.	Hans Sachs (Lortzing)
273.	Regina (Lortzing)
274.	Undine (Lortzing)
275.	Zar und Zimmermann (Lortzing)
276.	Cadmus et Hermione (Lully)
277.	Atys (Lully)
278.	Armide (Lully)
279.	Bérénice (Magnard)
280.	Guercoeur (Magnard
281.	Romeo e Giulietta (Marchetti)
282.	Ruy Blas (Marchetti)
283.	Der Templer und die Jüdin (Marschner)
284.	Der Vampyr (Marschner)
285.	Hans Heiling (Marschner)
286.	Amica (Mascagni)
287.	Cavalleria rusticana (Mascagni)
288.	Il piccolo Marat (Mascagni)
289.	Iris (Mascagni)
290.	Isabeau (Mascagni)
291.	L'amico Fritz (Mascagni)
292.	Le maschere (Mascagni)
293.	Lodoletta (Mascagni)
294.	Nerone (Mascagni)
295.	Parisina (Mascagni)
296.	Pinotta (Mascagni)
297.	Silvano (Mascagni)
298.	Galathée (Massé)
299.	Amadis (Massenet)
300.	Ariane (Massenet)
301.	Cendrillon (Massenet)
302.	Chérubin (Massenet)
303.	Cléopâtre (Massenet)
304.	Don Quichotte (Massenet)
305.	Esclarmonde (Massenet)
306.	Eve (Massenet)
307.	Grisélidis (Massenet)
308.	La navarraise (Massenet)
309.	La vierge (Massenet)
310.	Le Cid (Massenet)
311.	Le jongleur de Notre-Dame (Massenet)
312.	Le mage (Massenet)
313.	Le portrait de Manon (Massenet)
314.	Le roi de Lahore (Massenet)
315.	Manon (Massenet)
316.	Marie-Magdeleine (Massenet)
317.	Panurge (Massenet)
318.	Roma (Massenet)
319.	Sapho (Massenet)
320.	Thaïs (Massenet)
321.	Thérèse (Massenet)
322.	Werther (Massenet)
323.	Ginevra di Scozio (Mayr)
324.	Medea in Corinto (Mayr)
325.	Adrien (Méhul)
326.	Joseph en Egypte (Méhul)
327.	Uthal (Méhul)
328.	Caritea, regina di Spagna (Mercadante)
329.	Don Chischiotte alle nozze di Gamaccio (Mercadante)
330.	Elena da Feltre (Mercadante)
331.	Emma d'Antiochia (Mercadante)
332.	Francesca da Rimini (Mercadante)
333.	I Briganti (Mercadante)
334.	I Normanni a Parigi (Mercadante)
335.	Il bravo (Mercadante)
336.	Il giuramento (Mercadante)
337.	Il reggente (Mercadante)
338.	Maria Stuarda regina di Scozia (Mercadante)
339.	Orazi e Curiazi (Mercadante)
340.	Pelagio (Mercadante)
341.	Virginia (Mercadante)
342.	Zaira (Mercadante)
343.	Béatrice (Messager)
344.	Coups de roulis (Messager)
345.	Fortunio (Messager)
346.	François les bas-bleus (Messager)
347.	Isoline (Messager)
348.	La béarnaise (Messager)
349.	La petite fonctionnaire (Messager)
350.	Madame Chrysanthème (Messager)
351.	Saint François d'Assise (Messiaen)
352.	Alimelek (Meyerbeer)
353.	Dinorah (Meyerbeer)
354.	Ein Feldlager in Schlesien (Meyerbeer)
355.	Emma di Resburgo (Meyerbeer)
356.	Il crociato in Egitto (Meyerbeer)
357.	Le prophète (Meyerbeer)
358.	Les Huguenots (Meyerbeer)
359.	L'esule di Granata (Meyerbeer)
360.	L'étoile du nord (Meyerbeer)
361.	Margherita d'Anjou (Meyerbeer)
362.	Robert le Diable (Meyerbeer)
363.	Semiramide (Meyerbeer)
364.	Bolivar (Milhaud)
365.	Christophe Colomb (Milhaud)
366.	Les malheurs d'Orphée (Milhaud)
367.	L'Orestie d'Eschyle (Milhaud)
368.	Maximilien (Milhaud)
369.	Médée (Milhaud)
370.	Saint Louis roi de France (Milhaud)
371.	Trois Opéras-Minute (Milhaud)
372.	Halka (Moniuszko)
373.	Na kwaterunku (Moniuszko)
374.	Straszny dwór (Moniuszko)
375.	La nave (Montemezzi)
376.	L'amore dei tre re (Montemezzi)
377.	L'Orfeo (Monteverdi)
378.	Il ritorno d'Ulisse in patria (Monteverdi)
379.	L'incoronazione di Poppea (Monteverdi)
380.	Bastien und Bastienne (Mozart)
381.	Così fan tutte (Mozart)
382.	Die Entführung aus dem Serail (Mozart)
383.	Die Zauberflöte (Mozart)
384.	La finta giardiniera / Die Gärtnerin aus Liebe (Mozart)
385.	Don Giovanni (Mozart)
386.	Idomeneo (Mozart)
387.	La clemenza di Tito (Mozart)
388.	Le nozze di Figaro (Mozart)
389.	Les mystères d'Isis (Mozart)
390.	Zaïde (Mozart)
391.	Die Schuldigkeit des ersten Gebots (Mozart)
392.	Apollo et Hyacinthus (Mozart)
393.	Mitridate, re di Ponto (Mozart)
394.	Lucio Silla (Mozart)
395.	Il re pastore (Mozart)
396.	Two Boys (Muhly) MET
397.	Boris Godunov (Mussorgsky)
398.	Khovanshchina (Mussorgsky)
399.	Sorochintsi Fair (Mussorgsky)
400.	The Marriage (Mussorgsky)
401.	The Nursery (Mussorgsky)
402.	Dubrovksy (Napravnik)
403.	Der Trompeter von Säkkingen (Nessler)
404.	Il templario (Nicolai)
405.	Bagatelle (Offenbach)
406.	Barbe-bleue (Offenbach)
407.	Ba-ta-clan (Offenbach)
408.	Les bavards (Offenbach)
409.	Christopher Columbus (Offenbach)
410.	Daphnis et Chloé (Offenbach)
411.	Fantasio (Offenbach)
412.	Jeanne qui pleure et Jean qui rit (Offenbach)
413.	La belle Hélène (Offenbach)
414.	La boulangère a des écus (Offenbach)
415.	La chanson de Fortunio (Offenbach)
416.	La chatte métamorphosée en femme (Offenbach)
417.	La créole (Offenbach)
418.	La fille du tambour major (Offenbach)
419.	La grande-duchesse de Gérolstein (Offenbach)
420.	La Périchole (Offenbach)
421.	La permission de 10 heures (Offenbach)
422.	La rose de Saint-Flour (Offenbach)
423.	La vie parisienne (Offenbach)
424.	Le docteur Ox (Offenbach)
425.	Le pont des soupirs (Offenbach)
426.	Les brigands (Offenbach)
427.	Les deux aveugles (Offenbach)
428.	Les deux pêcheurs (Offenbach)
429.	Les fées du Rhin (Offenbach)
430.	Maître Péronilla (Offenbach)
431.	Orphée aux enfers (Offenbach)
432.	Pépito (Offenbach)
433.	Pierrette et Jacquot (Offenbach)
434.	Pomme d'api / Monsieur Choufleuri restera chez lui le… / Mesdames de la halle (Offenbach)
435.	Robinson Crusoe (Offenbach)
436.	Tromb-al-ca-zar (Offenbach)
437.	Une demoiselle en loterie (Offenbach)
438.	Une nuit blanche (Offenbach)
439.	Les 66 (Offenbach)
440.	Le financier et le savetier (Offenbach)
441.	La bonne d'enfant (Offenbach)
442.	Croquefer (Offenbach)
443.	Vent du soir (Offenbach)
444.	Un mari à la porte (Offenbach)
445.	Jacqueline (Offenbach)
446.	Il signor Fagotto (Offenbach)
447.	Le fifre enchanté (Offenbach)
448.	La leçon de chant électromagnétique (Offenbach)
449.	L'île de Tulipatan (Offenbach)
450.	Madame l'archiduc (Offenbach)
451.	Le voyage dans la lune (Offenbach)
452.	Le roi carotte (Offenbach)
453.	Alessandro nell'Indie (Pacini)
454.	Carlo di Borgogna (Pacini)
455.	L'ultimo giorno di Pompei (Pacini)
456.	Marina, regina d'Inghilterra (Pacini)
457.	Saffo (Pacini)
458.	Leonora (Paër)
459.	Il barbiere di Siviglia (Paisiello)
460.	La serva padrona (Paisiello)
461.	[Patrie! (Paladilhe)]
462.	Palestrina (Pfitzner)
463.	Tom Jones (Philidor)
464.	Sophie Arnould (Pierné)
465.	I Lituani (Ponchielli)
466.	I promessi sposi (Ponchielli)
467.	La Gioconda (Ponchielli)
468.	Pierre de Médicis (Poniatowski)
469.	Betrothal in a monastery (Prokofiev)
470.	L'amour des 3 oranges (Prokofiev)
471.	Semyon Kotko (Prokofiev)
472.	The Fiery Angel (Prokofiev)
473.	The Gambler (Prokofiev)
474.	War and Peace (Prokofiev)
475.	Edgar (Puccini)
476.	Il trittico (Puccini)
477.	La Bohème (Puccini)
478.	La fanciulla del West (Puccini)
479.	La Rondine (Puccini)
480.	Le Villi (Puccini)
481.	Madama Butterfly (Puccini)
482.	Manon Lescaut (Puccini)
483.	Tosca (Puccini)
484.	Turandot (Puccini)
485.	Mârouf, savetier du Caire (Rabaud)
486.	Aleko (Rachmaninov)
487.	Francesca da Rimini (Rachmaninov)
488.	Anacréon & Le berger fidèle (Rameau)
489.	Castor et Pollux (Rameau)
490.	Hippolyte et Aricie (Rameau)
491.	Les Boréades (Rameau)
492.	L'enfant et les prodigues (Ravel)
493.	L'heure espagnole (Ravel)
494.	Salammbô (Reyer)
495.	Sigurd (Reyer)
496.	Corrado d'Altamura (Ricci)
497.	Crispino e la comare (Ricci)
498.	La prigione d'Edimburgo (Ricci)
499.	Boyarina Vera Sheloga (Rimsky-Korsakov)
500.	Kashchey the Immortal (Rimsky-Korsakov)

...


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## Meyerbeer Smith (Mar 25, 2016)

Jemarchesurtousleschemins said:


> Say, what _is_ your complete list?


501.	May Night (Rimsky-Korsakov)
502.	Mlada (Rimsky-Korsakov)
503.	Mozart and Salieri (Rimsky-Korsakov)
504.	Sadko (Rimsky-Korsakov)
505.	Snegurochka (Rimsky-Korsakov)
506.	The Golden Cockerel (Rimsky-Korsakov)
507.	The Legend of the Invisible City of Kitezh (Rimsky-Korsakov)
508.	The Maid of Pskov (Rimsky-Korsakov)
509.	The Tale of Tsar Saltan (Rimsky-Korsakov)
510.	The Tsar's Bride (Rimsky-Korsakov)
511.	Le pays (Ropartz)
512.	Adelaide di Borgogna (Rossini)
513.	Armida (Rossini)
514.	Aureliano in Palmira (Rossini)
515.	Bianca e Falliero (Rossini)
516.	Ciro in Babilonia (Rossini)
517.	Demetrio e Polibio (Rossini)
518.	Elisabetta, regina d'Inghilterra (Rossini)
519.	Ermione (Rossini)
520.	Guillaume Tell (Rossini)
521.	Il barbiere di Siviglia (Rossini)
522.	Il signor Bruschino (Rossini)
523.	Il turco in Italia (Rossini)
524.	Il viaggio a Reims (Rossini)
525.	Ivanhoé (Rossini)
526.	La cambiale di matrimonio (Rossini)
527.	La Cenerentola (Rossini)
528.	La donna del lago (Rossini)
529.	La gazza ladra (Rossini)
530.	La gazzetta (Rossini)
531.	La pietra del paragone (Rossini)
532.	Le siège de Corinthe (Rossini)
533.	L'equivoco stravagante (Rossini)
534.	L'inganno felice (Rossini)
535.	L'italiana in Algeri (Rossini)
536.	L'occasione fa il ladro (Rossini)
537.	Maometto II (Rossini)
538.	Matilde di Shabran (Rossini)
539.	Mosè (Rossini)
540.	Mosè in Egitto (Rossini)
541.	Otello (Rossini)
542.	Ricciardo e Zoraide (Rossini)
543.	Robert Bruce (Rossini)
544.	Semiramide (Rossini)
545.	Sigismondo (Rossini)
546.	Tancredi (Rossini)
547.	Zelmira (Rossini)
548.	Le devin du village (Rousseau)
549.	Padmâvâti (Roussel)
550.	The Demon (Rubinstein)
551.	Œdipe à Colone (Sacchini)
552.	Etienne Marcel (Saint-Saëns)
553.	Henry VIII (Saint-Saëns)
554.	Les barbares (Saint-Saëns)
555.	Phryné (Saint-Saëns)
556.	Proserpine (Saint-Saëns)
557.	Samson et Dalila (Saint-Saëns)
558.	Les Danaïdes (Salieri)
559.	Tarare (Salieri)
560.	La chartreuse de Parme (Sauguet)
561.	Alfonso und Estrella (Schubert)
562.	Die Zwillingsbrüder (Schubert)
563.	Fierrabras (Schubert)
564.	Moses und Aron (Schonberg)
565.	Rosamunde (Schubert)
566.	Genoveva (Schumann)
567.	Judith (Serov)
568.	Rogneda (Serov)
569.	Le cœur du moulin (Séverac)
570.	The Decembrists (Shaporin)
571.	The Bartered Bride (Smetana)
572.	The Wreckers (Smyth)
573.	Jessonda (Spohr)
574.	Agnes von Hohenstaufen (Spontini)
575.	Fernand Cortez (Spontini)
576.	La vestale (Spontini)
577.	Milton (Spontini)
578.	Olympie (Spontini)
579.	Arabella (Strauss)
580.	Ariadne auf Naxos (Strauss)
581.	Capriccio (Strauss)
582.	Daphne (Strauss)
583.	Der Rosenkavalier (Strauss)
584.	Die ägyptische Helena (Strauss)
585.	Die Frau ohne Schatten (Strauss)
586.	Die Liebe der Danae (Strauss)
587.	Die schweigsame Frau (Strauss)
588.	Elektra (Strauss)
589.	Feuersnot (Strauss)
590.	Friedenstag (Strauss)
591.	Guntram (Strauss)
592.	Intermezzo (Strauss)
593.	Salome (Strauss)
594.	Die Fledermaus (Johann Strauss)
595.	Oedipus Rex (Stravinsky)
596.	The Rake's Progress (Stravinsky)
597.	Mavra (Stravinsky)
598.	The Nightingale (Stravinsky)
599.	The Nose (Stravinsky)
600.	Ivanhoe (Sullivan)
601.	Die schöne Galathée (von Suppé)
602.	The First Emperor (Tan Dun) MET
603.	Cherevichki (Tchaikovsky)
604.	Eugene Onegin (Tchaikovsky)
605.	Iolanta (Tchaikovsky)
606.	Mazeppa (Tchaikovsky)
607.	Oprichnik (Tchaikovsky)
608.	The Enchantress (Tchaikovsky)
609.	The Maid of Orleans (Tchaikovsky)
610.	The Queen of Spades (Tchaikovsky)
611.	The Voyevoda (Tchaikovsky)
612.	Le sire de Vergy (Terrasse)
613.	Hamlet (Thomas)
614.	La cour de Célimène (Thomas)
615.	Le Caïd (Thomas)
616.	Le songe d'une nuit d'été (Thomas)
617.	Mignon (Thomas)
618.	Miguel de Mañara (Tomasi)
619.	Giulietta e Romeo (Vaccai)
620.	Hugh the Drover (Vaughan Williams)
621.	The Poisoned Kiss (Vaughan Williams)
622.	Aida (Verdi)
623.	Alzira (Verdi)
624.	Aroldo (Verdi)
625.	Attila (Verdi)
626.	Don Carlos (Verdi)
627.	Ernani (Verdi)
628.	Falstaff (Verdi)
629.	Giovanna d'Arco (Verdi)
630.	I due Foscari (Verdi)
631.	I lombardi alla prima crociata (Verdi)
632.	I masnadieri (Verdi)
633.	Il corsaro (Verdi)
634.	Il trovatore (Verdi)
635.	Jérusalem (Verdi)
636.	La battaglia di Legnano (Verdi)
637.	La forza del destino (Verdi)
638.	La Traviata (Verdi)
639.	Les vêpres siciliennes (Verdi)
640.	Luisa Miller (Verdi)
641.	Macbeth (Verdi)
642.	Nabucco (Verdi)
643.	Oberto (Verdi)
644.	Otello (Verdi)
645.	Rigoletto (Verdi)
646.	Simon Boccanegra (Verdi)
647.	Stiffelio (Verdi)
648.	Un ballo in maschera (Verdi)
649.	Un giorno di regno (Verdi)
650.	Cendrillon (Viardot)
651.	Das Liebesverbot (Wagner)
652.	Der fliegende Holländer (Wagner)
653.	Der Ring des Nibelungen (Wagner)
654.	Die Meistersinger von Nürnberg (Wagner)
655.	Lohengrin (Wagner)
656.	Parsifal (Wagner)
657.	Rienzi (Wagner)
658.	Tannhäuser (Wagner)
659.	Tristan und Isolde (Wagner)
660.	Lurline (Wallace)
661.	Maritana (Wallace)
662.	Oberst Chabert (Waltershausen)
663.	Troilus and Cressida (Walton)
664.	Abu Hassan (Weber)
665.	Der Freischütz (Weber)
666.	Euryanthe (Weber)
667.	Oberon (Weber)
668.	The Rise and Fall of the City of Mahagonny (Weill) MET
669.	Schwanda the Bagpiper (Weinberger)
670.	Die neugierigen Frauen / Le donne curiose (Wolf-Ferrari)
671.	I gioielli della Madonna (Wolf-Ferrari)
672.	I quatro rusteghi (Wolf-Ferrari)
673.	Il segreto di Susanna (Wolf-Ferrari)
674.	L'amore medico (Wolf-Ferrari)
675.	Sly (Wolf-Ferrari)
676.	Conchita (Zandonai)
677.	Francesca da Rimini (Zandonai)
678.	Giulietta e Romeo (Zandonai)
679.	I cavalieri di Ekebu (Zandonai)
680.	Il bacio (Zandonai)
681.	La via della finestra (Zandonai)
682.	L'uccellino d'oro (Zandonai)
683.	Una partita (Zandonai)
684.	The Enchanted Island (Various) MET

You did ask.

Suggestions welcome!


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## Meyerbeer Smith (Mar 25, 2016)

Reviews of a brace of Rossinis:

_La scala di seta_: https://operascribe.com/2017/07/03/musical-scales/
_Torvaldo e Dorliska_: https://operascribe.com/2017/07/03/radical-rossini/


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## SixFootScowl (Oct 17, 2011)

Looks like I have nearly 4 dozen of your 684 operas.

So what is the difference between these two listings:

110. Elisabetta (8 mesi in 2 ore) (Donizetti)
111. Elisabetta al castello di Kenilworth (Donizetti)


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## Meyerbeer Smith (Mar 25, 2016)

Florestan said:


> Looks like I have nearly 4 dozen of your 684 operas.
> 
> So what is the difference between these two listings:
> 
> ...


Two different operas. The former's a substantial revision of 8 mesi in 2 ore, revised to the point Donizetti scholars think it's a new opera; the latter's based on Scott.


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## SixFootScowl (Oct 17, 2011)

SimonTemplar said:


> Two different operas. The former's a substantial revision of *8 mesi in 2 ore*, revised to the point Donizetti scholars think it's a new opera; the latter's based on Scott.


That is a puzzling name for a story? Opera? what?


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## Jemarchesurtousleschemins (Apr 3, 2017)

Bravissimo!!!! (or -a) 
No suggestions right now. I'll tell you if I think of any. But AMAZING LIST!!!
-Jemarchesurtousleschemins
(PS Not trying to be picky, just trying to help, but The Nose is by Shostakovich, not Stravinsky)


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## Pugg (Aug 8, 2014)

Jemarchesurtousleschemins said:


> Bravissimo!!!! (or -a)
> No suggestions right now. I'll tell you if I think of any. But AMAZING LIST!!!
> -Jemarchesurtousleschemins
> (PS Not trying to be picky, just trying to help, but The Nose is by Shostakovich, not Stravinsky)


Even opera gods can make mistakes.


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## Meyerbeer Smith (Mar 25, 2016)

Florestan said:


> That is a puzzling name for a story? Opera? what?


Eight months in two hours. It's probably an ancestor of Priestley's time plays.


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## Meyerbeer Smith (Mar 25, 2016)

Jemarchesurtousleschemins said:


> Bravissimo!!!! (or -a)
> No suggestions right now. I'll tell you if I think of any. But AMAZING LIST!!!
> -Jemarchesurtousleschemins


Thank'ee!

It's at least a five year plan - but hopefully without famine and mass deaths.

I hope at least one opera by Wagner, Strauss, Mozart, Bellini, and Puccini appears by the end of the year! Verdi and Offenbach are coming up soon.



> (PS Not trying to be picky, just trying to help, but The Nose is by Shostakovich, not Stravinsky)


Picking your Nose? Thanks for pointing this out - I like Шос more than Стрa!


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## Meyerbeer Smith (Mar 25, 2016)

Pugg said:


> Even opera gods can make mistakes.


Vae, puteo deus fio!

(Dear me, I think I'm becoming a god) - Vespasian


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## huntsman (Jan 28, 2013)

SimonTemplar said:


> I've started a new blog about opera:
> 
> https://operascribe.com/


Break a leg!

Will the blog be aimed at the 'in' crowd or will you have usable info for total beginners?


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## Meyerbeer Smith (Mar 25, 2016)

huntsman said:


> Break a leg!
> 
> Will the blog be aimed at the 'in' crowd or will you have usable info for total beginners?


Thanks! It's aimed at a general audience with an interest in opera. It's not a technical blog, by any means; my background is in literature, history, and journalism, rather than musicology.

When I discuss an opera, I try to work in a brief description of the plot, and, when the composer is obscure, a couple of lines about them as well. I also link to videos of some of the highlights. Each opera has a dossier, with a list of characters and musical numbers, and some operas have contemporary reviews.

Each composer has a biography. Here's the most recent - Alberto Franchetti: https://operascribe.com/composers/alberto-franchetti/

A post about Franchetti's _Germania_ will be up later this week.


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## huntsman (Jan 28, 2013)

Cheers! :cheers:

I'm certain I will learn a ton...


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## Meyerbeer Smith (Mar 25, 2016)

Presentation of Franchetti's _Germania_: https://operascribe.com/2017/07/06/relevant-she-teutons/


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## Pugg (Aug 8, 2014)

Great work Simon, just right in all way, beautiful pictures and interesting choices. :tiphat:


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## Barelytenor (Nov 19, 2011)

From a description of _Thaïs:_

"The opera, an adaptation of Anatole France's story,
starred Sibyl Sanderson in the title role. 
On the first night, thanks to a wardrobe malfunctio
n, a *titillated audience* saw 'Mlle 
Seinderson naked to the waist'."

Tee hee. Very clever. Boldface is mine.

Thanks again Simon.

:tiphat:

Kind regards,

George


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## Meyerbeer Smith (Mar 25, 2016)

Barelytenor said:


> From a description of _Thaïs:_
> 
> "The opera, an adaptation of Anatole France's story,
> starred Sibyl Sanderson in the title role.
> ...


You've given me an idea for a post - bare-breasted women in 19th century opera. Some of the Paris Opéra costumes are racy.


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## Meyerbeer Smith (Mar 25, 2016)

Pugg said:


> Great work Simon, just right in all way, beautiful pictures and interesting choices. :tiphat:


Thanks! Glad you liked the pictures; I feel that using pictures and sound really add to the presentation. 
My blog as Gesamtkunstwerk - text, picture and music?


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## Meyerbeer Smith (Mar 25, 2016)

The Scottish opera: https://operascribe.com/2017/07/08/a-deed-of-dreadful-note/


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## Pugg (Aug 8, 2014)

SimonTemplar said:


> The Scottish opera: https://operascribe.com/2017/07/08/a-deed-of-dreadful-note/


No mention of the Muti recording.


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## JosefinaHW (Nov 21, 2015)

I have been listening off and on to Messiaen's opera _Saint Francois d'Assise_--first time listening to Messiaen's music and after listening and then reading the liner notes I realize that I have to go back and begin by listening to Debussy's music to understand the St. Francis opera. This might sound like a ridiculous question but I am going to ask it anyway: Is Debussy the father of both 20th-century French music and the Second Viennese school's music?!!?


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## Meyerbeer Smith (Mar 25, 2016)

Pugg said:


> No mention of the Muti recording.


I can't list everything!


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## Meyerbeer Smith (Mar 25, 2016)

JosefinaHW said:


> I have been listening off and on to Messiaen's opera _Saint Francois d'Assise_--first time listening to Messiaen's music and after listening and then reading the liner notes I realize that I have to go back and begin by listening to Debussy's music to understand the St. Francis opera. This might sound like a ridiculous question but I am going to ask it anyway: Is Debussy the father of both 20th-century French music and the Second Viennese school's music?!!?


I wish I could answer; I don't know enough to say. It would be a good question to post in one of the main fora!


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## Meyerbeer Smith (Mar 25, 2016)

Offenbach's _Contes d'Hoffmann_: https://operascribe.wordpress.com/2...folding-text-offenbachs-les-contes-dhoffmann/


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## Jemarchesurtousleschemins (Apr 3, 2017)

Wow. I never thought about _Hoffmann_ that way... a criticism of opera itself. So well-explained. Bravo!!!


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## Meyerbeer Smith (Mar 25, 2016)

Jemarchesurtousleschemins said:


> Wow. I never thought about _Hoffmann_ that way... a criticism of opera itself. So well-explained. Bravo!!!


Thank you! I try to make my posts thought-provoking.


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## Meyerbeer Smith (Mar 25, 2016)

Review of Rimsky-Korsakov's _Sadko_: https://operascribe.com/2017/07/21/the-young-man-and-the-sea-sadko-rimsky-korsakov/


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## Meyerbeer Smith (Mar 25, 2016)

Review of two obscure operas by Holst, _At the Boar's Head_ and _The Wandering Scholar_: http://operascribe.com/2017/08/03/at-the-boars-head-the-wandering-scholar-gustav-holst/

Coming soon: Italian (something much more mainstream), and German (one of the great composers).


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## Meyerbeer Smith (Mar 25, 2016)

Puccini's _Tosca_:
https://www.operascribe.com/2017/08/05/tosca-giacomo-puccini/

And I think I've managed to say a couple of original things about it.


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## Pugg (Aug 8, 2014)

SimonTemplar said:


> Puccini's _Tosca_:
> https://www.operascribe.com/2017/08/05/tosca-giacomo-puccini/
> 
> And I think I've managed to say a couple of original things about it.


Love that poster, bought it years ago in the Met Shop ,now it's framed in the music room.


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## Meyerbeer Smith (Mar 25, 2016)

Strauss's _Friedenstag_: https://operascribe.wordpress.com/2017/08/08/friedenstag-richard-strauss/


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## Meyerbeer Smith (Mar 25, 2016)

Verdi's _Forza del destino_: http://operascribe.com/2017/08/11/la-forza-del-destino-giuseppe-verdi/


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## Meyerbeer Smith (Mar 25, 2016)

Offenbach's _Tromb-al-ca-zar_: http://operascribe.com/2017/08/15/tromb-al-ca-zar-jacques-offenbach/


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## Meyerbeer Smith (Mar 25, 2016)

Berlioz's _Béatrice et Bénédict_: http://operascribe.com/2017/08/19/beatrice-et-benedict-hector-berlioz/

And the previous post got missed when the site shut down: Offenbach's Tromb-al-ca-zar: http://operascribe.com/2017/08/15/tr...ues-offenbach/


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## Meyerbeer Smith (Mar 25, 2016)

Smetana's _Bartered Bride_: www.operascribe.com/2017/08/22/prodana-nevesta-the-bartered-bride-bedrich-smetana/


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## Meyerbeer Smith (Mar 25, 2016)

Mozart's _Abduction from the Seraglio_: https://wordpress.com/post/operascribe.com/2732

(I'm trying an experiment: a synopsis with a few highlights at the start. Does it work? Or is it too wordy?)


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## Pugg (Aug 8, 2014)

SimonTemplar said:


> Mozart's _Abduction from the Seraglio_: https://wordpress.com/post/operascribe.com/2732
> 
> (I'm trying an experiment: a synopsis with a few highlights at the start. Does it work? Or is it too wordy?)


Hello Simon, why do I have to log in now?


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## JoeSaunders (Jan 29, 2015)

Pugg said:


> Hello Simon, why do I have to log in now?


I think that link's wrong, using https://operascribe.com/ is fine for me.

Also great work SimonTemplar! I'm loving this blog so far


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## Meyerbeer Smith (Mar 25, 2016)

Pugg said:


> Hello Simon, why do I have to log in now?


Because I gave you the wrong link! Sorry about that; here's the proper link: https://operascribe.com/2017/08/27/...on-from-the-seraglio-wolfgang-amadeus-mozart/


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## Meyerbeer Smith (Mar 25, 2016)

JoeSaunders said:


> I think that link's wrong, using https://operascribe.com/ is fine for me.
> 
> Also great work SimonTemplar! I'm loving this blog so far


Thanks, Joe!

And here's Nessler's _Trompeter von Säckingen_: https://operascribe.com/2017/08/27/der-trompeter-von-sakkingen-viktor-nessler/


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## Meyerbeer Smith (Mar 25, 2016)

Bellini's _Pirata_: http://www.operascribe.com/2017/08/29/il-pirata-vincenzo-bellini/


----------



## Meyerbeer Smith (Mar 25, 2016)

Carmen get it: https://operascribe.com/2017/09/03/29-carmen-georges-bizet/


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## MariaAlfonso (Sep 3, 2017)

NickFuller said:


> Next post: https://operascribe.com/2017/05/13/210/.


Interesting blog! keep it up...


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## Meyerbeer Smith (Mar 25, 2016)

MariaAlfonso said:


> Interesting blog! keep it up...


Thanks! I have a long list...


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## Meyerbeer Smith (Mar 25, 2016)

Two more reviews:

Verdi's Trovatore

and

The Cid


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## Belowpar (Jan 14, 2015)

Nick just catching up on this. As has been noted above you explain the depths of Hoffmann very well. It’s a much undervalued piece. IMHO

And who knew we have this problem in common. 
On Trovatore

"The opera, though, is less illogical than it appears. Accept the basic premise – that Azucena threw the wrong baby on the fire – and everything else follows. (As someone with a long experience of setting fire to small children, I can see how she might make the mistake; one tyke is much like another.)"

I look forward to regularly checking this out.


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## Meyerbeer Smith (Mar 25, 2016)

Belowpar said:


> Nick just catching up on this. As has been noted above you explain the depths of Hoffmann very well. It's a much undervalued piece. IMHO
> 
> And who knew we have this problem in common.
> On Trovatore
> ...


Thanks, Belowpar!

Nice to know someone else shares my burning passion!


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## Bardamu (Dec 12, 2011)

Namiko San was composed by Aldo Franchetti, not Alberto Franchetti.
I see it's a common mistake these days due to the italian Wikipedia spreading this false information (and no one double checking).

https://operascribe.com/composers/alberto-franchetti/


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## Meyerbeer Smith (Mar 25, 2016)

Bardamu said:


> Namiko San was composed by Aldo Franchetti, not Alberto Franchetti.
> I see it's a common mistake these days due to the italian Wikipedia spreading this false information (and no one double checking).
> 
> https://operascribe.com/composers/alberto-franchetti/


Thanks for pointing that out; I've corrected it!


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## Meyerbeer Smith (Mar 25, 2016)

Gluck's _Paride ed Elena_:
https://operascribe.com/2017/09/22/32-paride-ed-elena-christoph-willibald-gluck/


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## Meyerbeer Smith (Mar 25, 2016)

More Gluck:
https://operascribe.com/2017/09/29/...orphee-et-eurydice-christoph-willibald-gluck/


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## Meyerbeer Smith (Mar 25, 2016)

Offenbach: https://operascribe.com/2017/10/05/34-orphee-aux-enfers-jacques-offenbach/


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## Belowpar (Jan 14, 2015)

NickFuller said:


> Offenbach: https://operascribe.com/2017/10/05/34-orphee-aux-enfers-jacques-offenbach/


Nick, I also prefer Offenbach to Gluck. I do think many people under value the light and comic as witnessed by the "top 100 films" listings, which hardly ever include comedies. Unfortunately, todays huge Opera houses don't really suit the light touch needed.

Looking forward to more.


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## Meyerbeer Smith (Mar 25, 2016)

Belowpar said:


> Nick, I also prefer Offenbach to Gluck. I do think many people under value the light and comic as witnessed by the "top 100 films" listings, which hardly ever include comedies. Unfortunately, todays huge Opera houses don't really suit the light touch needed.
> 
> Looking forward to more.


Thanks! Yes, there's an attitude that Art is Suffering (or, at least, Serious).


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## Meyerbeer Smith (Mar 25, 2016)

Schillings' Mona Lisa: https://operascribe.com/2017/10/24/35-mona-lisa-max-von-schillings/

I'm in Sri Lanka for the next 3 months, and, at the moment, only have the internet on my tablet. Expect fewer posts until January; the tablet is spastic, and things that would take two minutes on the computer take ten, and leave me as splenetic as Basil Fawlty. I've also somehow deleted the header menu; hopefully I'll fix it next week.


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## Meyerbeer Smith (Mar 25, 2016)

Revised version, now with music:
https://operascribe.com/2017/10/24/35-mona-lisa-max-von-schillings/


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## MariaAlfonso (Sep 3, 2017)

NickFuller said:


> Thanks! I have a long list...


Could you please share the list. This would help me.


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## Meyerbeer Smith (Mar 25, 2016)

Grétry's _Richard Coeur-de-lion_: https://operascribe.com/2017/10/27/36-richard-coeur-de-lion-andre-gretry/


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## Meyerbeer Smith (Mar 25, 2016)

MariaAlfonso said:


> Could you please share the list. This would help me.


By long, I mean long! It's an ever increasing list, too. Call me Sisyphus, but not a sissy. Listening to several hundred operas is a man's work.

1.	Le chalet (Adam)
2.	Le farfadet (Adam)
3.	Si j'étais roi (Adam)
4.	Le toréador (Adam)
5.	Little Women (Adamo)
6.	The Death of Klinghoffer (Adams)
7.	Nixon in China (Adams)
8.	Doctor Atomic (Adams)
9.	Powder Her Face (Adès)
10.	The Tempest (Adès) MET
11.	Merlin (Albéniz)
12.	Tiefland (D'Albert)
13.	Il nascimento dell'Aurora (Albinoni)
14.	Cyrano de Bergerac (Alfano)
15.	Risurrezione (Alfano)
16.	Sakuntala (Alfano)
17.	Miss Julie (Alwyn)
18.	Artaxerxes (Arne)
19.	Noé (Arrieu)
20.	L'ambassadrice (Auber)
21.	Le cheval de bronze (Auber)
22.	Les diamants de la couronne (Auber)
23.	Le domino noir (Auber)
24.	Fra Diavolo (Auber)
25.	Gustave III (Auber)
26.	Haydée (Auber)
27.	Manon Lescaut (Auber)
28.	La muette de Portici (Auber)
29.	Gillette de Narbonne (Audran)
30.	Amadis des Gaules (J.C. Bach)
31.	The Bohemian Girl (Balfe)
32.	Antony and Cleopatra (Barber)
33.	A Hand of Bridge (Barber)
34.	Vanessa (Barber)
35.	El Barberillo de Lavapiés (Barbieri)
36.	Bluebeard's Castle (Bartók)
37.	Fidelio (Beethoven)
38.	Beatrice di Tenda (Bellini)
39.	I Capuleti e I Montecchi (Bellini)
40.	Ernani fragments (Bellini)
41.	Norma (Bellini)
42.	I puritani (Bellini)
43.	La sonnambula (Bellini)
44.	La straniera (Bellini)
45.	Zaira (Bellini)
46.	Suor Manuela (Bellis)
47.	Prima Donna (Benjamin)
48.	The Mines of Sulphur (Bennett)
49.	Lulu (Berg)
50.	Wozzeck (Berg)
51.	The Singing Tree (Bergman)
52.	Un re in ascolto (Berio)
53.	A Dinner Engagement (Berkeley)
54.	Baa Baa Black Sheep (Berkeley)
55.	Benvenuto Cellini (Berlioz)
56.	La damnation de Faust (Berlioz)
57.	Les Troyens (Berlioz)
58.	Le Carrosse du Saint-Sacrement (Lord Berners)
59.	Candide (Bernstein)
60.	On the Town (Bernstein)
61.	Trouble in Tahiti (Bernstein)
62.	West Side Story (Bernstein)
63.	Esmeralda (Bertin)
64.	Orfeo (Bertoni)
65.	Arminio (Biber)
66.	Gawain (Birtwhistle)
67.	The Mask of Orpheus (Birtwhistle)
68.	Punch and Judy (Birtwhistle)
69.	Le Docteur Miracle (Bizet)
70.	Don Procopio (Bizet)
71.	Ivan IV (Bizet)
72.	La jolie fille de Perth (Bizet)
73.	Les pêcheurs de perles (Bizet)
74.	The Olympians (Bliss)
75.	Macbeth (Bloch)
76.	Aniara (Blomdahl)
77.	Venus and Adonis (Blow)
78.	Yvonne, princesse de Bourgogne (Boesmans)
79.	Le calife de Bagdad (Boieldieu)
80.	La dame blanche (Boieldieu)
81.	Don Quichotte chez la Duchesse (Boismortier)
82.	Mefistofele (Boito)
83.	Nerone (Boito)
84.	Prince Igor (Borodin)
85.	La crociata degli innocenti (Bossi)
86.	Ero e Leandro (Bottesini)
87.	Bethlehem (Boughton)
88.	The Immortal Hour (Boughton)
89.	Verkündigung (Braunfels)
90.	Die Vogel (Braunfels)
91.	La Verbena de la Paloma (Bretón)
92.	Albert Herring (Britten)
93.	Billy Budd (Britten)
94.	The Burning Fiery Furnace (Britten)
95.	Curlew River (Britten)
96.	Death in Venice (Britten) MET
97.	Gloriana (Britten)
98.	The Little Sweep (Britten)
99.	A Midsummer Night's Dream (Britten)
100.	Noye's Fludde / The Golden Vanity (Britten)
101.	Owen Wingrave (Britten)
102.	Paul Bunyan (Britten)
103.	Peter Grimes (Britten) MET
104.	The Prodigal Son (Britten)
105.	The Rape of Lucretia (Britten)
106.	The Turn of the Screw (Britten)
107.	Die Loreley (Bruch)
108.	Il contrabbasso (Bucchi)
109.	Arlecchino (Busoni)
110.	Doktor Faust (Busoni)
111.	Turandot (Busoni)
112.	Hypatia (Caetani)
113.	Don Bucefalo (Cagnoni)
114.	Idoménée (Campra)
115.	Riccardo III (Canepa)
116.	La donna serpente (Casella)
117.	La favola d'Orfeo (Casella)
118.	Attraverso lo specchio (Castiglioni)
119.	Dejanice (Catalani)
120.	Edema (Catalani)
121.	Loreley (Catalani)
122.	La Wally (Catalani)
123.	Florencia en el Amazonas (Catán)
124.	La Calisto (Cavalli)
125.	Ercole Armante (Cavalli)
126.	Giasone (Cavalli)
127.	L'Ormindo (Cavalli)
128.	L'Orontea (Cesti)
129.	Il pomo d'oro (Cesti)
130.	Briséïs (Chabrier)
131.	Une education manquée / Fisch Ton Kan / Vaucochard et fils 1er (Chabrier)
132.	L'étoile (Chabrier)
133.	Gwendoline (Chabrier)
134.	Le roi malgré lui (Chabrier)
135.	Louise (G Charpentier)
136.	David et Jonathas (M-A Charpentier)
137.	La descente d'Orphée aux enfers (M-A Charpentier)
138.	Le Malade imaginaire (M-A Charpentier)
139.	Médée (M-A Charpentier)
140.	Le roi Arthus (Chausson)
141.	Anacréon (Cherubini)
142.	Les deux journées (Cherubini)
143.	Eliza (Cherubini)
144.	Lodoïska (Cherubini)
145.	Medea / Médée (Cherubini)
146.	Pimmalione (Cherubini)
147.	Adriana Lecouvreur (Cilea)
148.	L'Arlesiana (Cilea)
149.	Gina (Cilea)
150.	Gloria (Cilea)
151.	Chi dell'altrui si veste, presto si spoglia (Cimarosa)
152.	I due baroni di Rocca Azzurra (Cimarosa)
153.	Il marito disperato (Cimarosa)
154.	Il matrimonio segreto (Cimarosa)
155.	Il ritorno di Don Calandrino (Cimarosa)
156.	The Tender Land (Copland)
157.	Divara - Wasser und Blut (Corghi)
158.	The Ghosts of Versailles (Corigliano)
159.	Der Barbier von Bagdad (Cornelius)
160.	Polyphème (Cras)
161.	Être Dieu (Dali)
162.	Il prigioniero (Dallapiccola)
163.	Ulisse (Dallapiccola)
164.	Colombe (Damase)
165.	The Man Without a Country (Damrosch)
166.	Esmeralda (Dargomyzhsky)
167.	Kamenny Gost (Dargomyzhsky)
168.	Rusalka (Dargomyzhsky)
169.	Herculanum (David)
170.	Lalla-Roukh (David)
171.	The Lighthouse (Davies)
172.	Taverner (Davies)
173.	Pelléas et Mélisande (Debussy)
174.	Deux vieilles gardes (Delibes)
175.	L'écossais de Chatou (Delibes)
176.	Lakmé (Delibes)
177.	L'omelette à la follembuche (Delibes)
178.	Le serpent à plumes (Delibes)
179.	Fennimore and Gerda (Delius)
180.	Koanga (Delius)
181.	A Village Romeo and Juliet (Delius)
182.	Die Verurteilung des Lukullus (Dessau)
183.	Le vaisseau fantôme (Dietsch)
184.	L'étranger (D'Indy)
185.	Fervaal (D'Indy)
186.	Adelia (Donizetti)
187.	L'ajo nell'imbarrazzo (Donizetti)
188.	Alahor in Granata (Donizetti)
189.	Alina, regina di Golconda (Donizetti)
190.	Anna Bolena (Donizetti)
191.	L'assedio di Calais (Donizetti)
192.	Belisario (Donizetti)
193.	Betly (Donizetti)
194.	Il borgomastro di Saardam (Donizetti)
195.	Il campanello (Donizetti)
196.	Caterina Cornaro (Donizetti)
197.	Le convenienze ed inconvenienze teatrali (Donizetti)
198.	Il diluvio universale (Donizetti)
199.	Dom Sébastien, roi de Portugal (Donizetti)
200.	Don Gregorio (Donizetti)
201.	Don Pasquale (Donizetti)
202.	Le duc d'Albe [aussi une version italienne] (Donizetti)
203.	Elisabetta (8 mesi in 2 ore) (Donizetti)
204.	Elisabetta al castello di Kenilworth (Donizetti)
205.	L'elisir d'amore (Donizetti)
206.	Gli esiliati in Siberia (8 mesi in 2 ore) (Donizetti)
207.	L'esule di Roma (Donizetti)
208.	Elvida (Donizetti)
209.	Emilia di Liverpool (Donizetti)
210.	Enrico di Borgogna (Donizetti)
211.	Fausta (Donizetti)
212.	La favorite (Donizetti)
213.	La fille du régiment (Donizetti)
214.	Il fortunato inganno (Donizetti)
215.	Francesca di Foix (Donizetti)
216.	Il furioso all'isola di San Domingo (Donizetti)
217.	Gabriella di Vergy (Donizetti)
218.	Gemma di Vergy (Donizetti)
219.	Gianni di Parigi (Donizetti)
220.	Il giovedì grasso (Donizetti)
221.	Imelda de' Lambertazzi (Donizetti)
222.	L'ira di Achille (Donizetti)
223.	La lettera anonima (Donizetti)
224.	Linda di Chamounix (Donizetti)
225.	Lucie de Lammermoor (Donizetti) / Lucia di Lammermoor (Donizetti)
226.	Lucrezia Borgia (Donizetti)
227.	Maria de Rudenz (Donizetti)
228.	Maria di Rohan (Donizetti)
229.	Maria Padilla (Donizetti)
230.	Maria Stuarda (Donizetti)
231.	Les martyrs (Donizetti)
232.	Olivo e Pasquale (Donizetti)
233.	Il paria (Donizetti)
234.	Parisina d'Este (Donizetti)
235.	Pia de' Tolomei (Donizetti)
236.	Pietro il Grande (Donizetti)
237.	Il Pigmalione (Donizetti)
238.	Poliuto (Donizetti)
239.	Rita (Donizetti)
240.	Roberto Devereux (Donizetti)
241.	La romanzesca e l'uomo nero (Donizetti)
242.	Rosmonda d'Inghilterra (Donizetti)
243.	Sancia di Castiglia (Donizetti)
244.	Torquato Tasso (Donizetti)
245.	Ugo, conte di Parigi (Donizetti)
246.	La zingara (Donizetti)
247.	Zoraida di Granata (Donizetti)
248.	An American Tragedy (Dreiser) MET
249.	Ariane et Barbe-bleue (Dukas)
250.	Youth and Folly (Dupuy)
251.	Antar (Dupont)
252.	Armida (Dvorak)
253.	Čert a Káča (Dvorak)
254.	Dimitrij (Dvorak)
255.	Jakobín (Dvorak)
256.	Král a uhlíř (Dvorak)
257.	Rusalka (Dvorak)
258.	Šelma sedlák (The Cunning Peasant) (Dvorak)
259.	Vanda (Dvorak)
260.	Der Besuch der alten Dame (Einem)
261.	Dantons Tod (Einem)
262.	Der Prozeß (Einem)
263.	Œdipe (Enesco)
264.	Bánk Bán (Erkel)
265.	Amleto (Faccio)
266.	El amor brujo (Falla)
267.	Atlántida (Falla)
268.	El retablo de Maese Pedro (Falla)
269.	La vida breve (Falla)
270.	Pénélope (Fauré)
271.	Neither (Feldman)
272.	The Bride of Messina (Fibich)
273.	Sárka (Fibich)
274.	Rothschild's Violin (Fleischmann)
275.	Alessandro Stradella (Flotow)
276.	Martha (Flotow)
277.	Susannah (Floyd) MET
278.	Cristoforo Colombo (Franchetti)
279.	La figlia del iorio (Franchetti)
280.	Il filosofo di campagna (Galuppi)
281.	L'Olimpiade (Galuppi)
282.	The Beggar's Opera (Gay)
283.	Don Ciccio (Gentilucci)
284.	The Duenna (Gerhard)
285.	Merrie England (German)
286.	Blue Monday (Gershwin)
287.	Porgy and Bess (Gershwin)
288.	Le baccanti (Ghedini)
289.	Lord Inferno / L'ipocrita felica (Ghedini)
290.	Bomarzo (Ginastera)
291.	Andrea Chénier (Giordano)
292.	La cena delle beffe (Giordano)
293.	Fedora (Giordano)
294.	Madame Sans-Gêne (Giordano)
295.	Mala vita (Giordano)
296.	Mese Mariano (Giordano)
297.	Il re (Giordano)
298.	Siberia (Giordano)
299.	Mayerling (Giuranna)
300.	Akhnaten (Glass)
301.	La Belle et la Bête (Glass)
302.	Einstein on the Beach (Glass)
303.	Satyagraha (Glass)
304.	A Life for the Tsar (Glinka)
305.	Ruslan & Lyudmila (Glinka)
306.	Alceste (Gluck)
307.	Armide (Gluck)
308.	La clemenza di Tito (Gluck)
309.	Le Cinesi (Gluck)
310.	La corona / La danza (Gluck)
311.	Écho et Narcisse (Gluck)
312.	L'innocenza giustificata (Gluck)
313.	Iphigénie en Aulide (Gluck)
314.	Orfeo ed Euridice (Gluck)
315.	La rencontre imprévue (Gluck)
316.	Semiramide riconosciuta (Gluck)
317.	Telemaco (Gluck)
318.	Dante (Godard)
319.	La vivandière (Godard)
320.	Der Widerspenstigen Zähmung (Goetz)
321.	Die Königin von Saba (Goldmark)
322.	Merlin (Goldmark)
323.	Ein Wintermärchen (Goldmark)
324.	Beatrice Cenci (Goldschmidt)
325.	Der gewaltige Hahnrei (Goldschmidt)
326.	Fosca (Gomes)
327.	Il Guarany (Gomes)
328.	Maria Tudor (Gomes)
329.	Salvator Rosa (Gomes)
330.	Lo schiavo (Gomes)
331.	Cinq-Mars (Gounod)
332.	La colombe (Gounod)
333.	Faust (Gounod)
334.	Le médecin malgré lui (Gounod)
335.	Mireille (Gounod)
336.	Philémon et Baucis (Gounod)
337.	Polyeucte (Gounod)
338.	La reine de Saba (Gounod)
339.	Roméo et Juliette (Gounod)
340.	Sapho (Gounod)
341.	Goyescas (Granados)
342.	Cesare e Cleopatra (Graun)
343.	L'amant jaloux (Grétry)
344.	La caravane du Caire (Grétry)
345.	Céphale et Procris (Grétry)
346.	Guillaume Tell (Grétry)
347.	Lucile (Grétry)
348.	Le magnifique (Grétry)
349.	Le tableau parlant (Grétry)
350.	Electra (Haeffner)
351.	Charles VI (Halévy)
352.	Clari (Halévy)
353.	L'éclair (Halévy)
354.	La juive (Halévy)
355.	La magicienne (Halévy)
356.	Noé (Halévy)
357.	Ciboulette (Hahn)
358.	Le marchand de Venise (Hahn)
359.	Acis and Galatea (Handel)
360.	Admeto (Handel)
361.	Agrippina (Handel)
362.	Alcina (Handel)
363.	Alessandro (Handel)
364.	Almira (Handel)
365.	Amadigi di Gaula (Handel)
366.	Ariodante (Handel)
367.	Belshazzar (Handel)
368.	Berenice (Handel)
369.	Flavio (Handel)
370.	Floridante (Handel)
371.	Giulio Cesare (Handel)
372.	Giustino (Handel)
373.	Hercules (Handel)
374.	Orlando (Handel)
375.	Ottone (Handel)
376.	Partenope (Handel)
377.	Il pastor fido (Handel)
378.	Poro, Re dell'Indie (Handel)
379.	Radamisto (Handel)
380.	Riccardo Primo, Rè d'Inghilterra (Handel)
381.	Rinaldo (Handel)
382.	Rodelinda (Handel) MET
383.	Semele (Handel)
384.	Serse (Handel)
385.	Tamerlano (Handel)
386.	Teseo (Handel)
387.	Theodora (Handel)
388.	Cleofide (Hasse)
389.	Piramo e Tisbe (Hasse)
390.	L'anima del filosofo, or Orfeo ed Euridice (Haydn)
391.	Armida (Haydn)
392.	La fedeltà premiata (Haydn)
393.	L'incontro improvviso (Haydn)
394.	L'infedelta delusa (Haydn)
395.	L'isola disabitata (Haydn)
396.	Il mondo della luna (Haydn)
397.	Orlando paladino (Haydn)
398.	La vera costanza (Haydn)
399.	Dead Man Walking (Heggie)
400.	Moby Dick (Heggie)
401.	Drot og Marsk (Heise)
402.	The Bassarids (Henze)
403.	Boulevard Solitude (Henze)
404.	Elegy for Young Lovers (Henze)
405.	The English Cat (Henze)
406.	Der junge Lord (Henze)
407.	Le muletier (Herold)
408.	Le Pré-aux-clercs (Herold)
409.	Zampa (Herold)
410.	Wuthering Heights (Herrmann)
411.	Cardillac (Hindemith)
412.	Hin und Zurück (Hindemith)
413.	Das lange Weihnachtsmahl (Hindemith)
414.	Mathis der Mahler (Hindemith)
415.	Mörder, Hoffnung der Frauen (Hindemith)
416.	Neues vom Tage (Hindemith)
417.	Das Nusch-Nuschi (Hindemith)
418.	Sancta Susanna (Hindemith)
419.	Wir bauen eine Stadt (Hindemith)
420.	Les chevaliers de la table ronde (Hervé)
421.	Undine (Hoffmann)
422.	The Perfect Fool (Holst)
423.	Savitri (Holst)
424.	Gunther von Schwarzburg (Holzbauer)
425.	Antigone (Honegger)
426.	Judith (Honegger)
427.	L'aiglon (Honegger & Ibert)
428.	Hänsel und Gretel (Humperdinck)
429.	Königskinder (Humperdinck)
430.	The Cunning Little Vixen (Janáček)
431.	The Excursions of Mr. Broucek to the Moon and to the 15th Century (Janáček)
432.	From the House of the Dead (Janáček)
433.	Jenůfa (Janáček)
434.	Káta Kabanová (Janáček)
435.	Osud [Fate] (Janáček)
436.	Věc Makropulos (Janáček)
437.	Dimitri (Joncières)
438.	Treemonisha (Joplin)
439.	Der Evangelimann (Kienzl)
440.	Háry János (Kodály)
441.	Székely fonó (Kodály)
442.	Der Ring des Polykrates (Korngold)
443.	Die tote Stadt (Korngold)
444.	Violanta (Korngold)
445.	Das Wunder der Heliane (Korngold)
446.	Brundibár (Krása)
447.	Jonny spielt auf (Krenek)
448.	Das Nachtlager in Granada (Kreutzer)
449.	Das Mädchen mit den Schwefelhölzern (Lachenmann)
450.	La jacquerie (Lalo) DO AFTER ROI D'YS
451.	Le roi d'Ys (Lalo)
452.	Pyramus and Thisbe (Lampe)
453.	Il sant'Alessio (Landi)
454.	The Antichrist (Langaard)
455.	Assunta spina (Langella)
456.	Le preziose ridicole (Lattuada)
457.	La lépreuse (Lazzari)
458.	La tour de feu (Lazzari)
459.	Paul et Virginie (Le Sueur)
460.	Ali Baba (Lecocq)
461.	La fille de Mme Angot (Lecocq)
462.	Le petit duc (Lecocq)
463.	Friederike (Léhar)
464.	Giuditta (Léhar)
465.	Der Graf von Luxemburg (Léhar)
466.	Das Land des Lächelns (Léhar)
467.	Die lustige Witwe (Léhar)
468.	La Bohème (Leoncavallo)
469.	Edipo Re (Leoncavallo)
470.	Mameli (Leoncavallo)
471.	I Medici (Leoncavallo)
472.	Der Roland von Berlin (Leoncavallo)
473.	Pagliacci (Leoncavallo)
474.	Zazà (Leoncavallo)
475.	Gli Zingari (Leoncavallo)
476.	L'oracolo (Leoni)
477.	Penelope (Liebermann)
478.	Le grand macabre (Ligeti)
479.	Hans Sachs (Lortzing)
480.	Regina (Lortzing)
481.	Undine (Lortzing)
482.	Der Waffenschmied (Lortzing)
483.	Der Wildschütz (Lortzing)
484.	Zar und Zimmermann (Lortzing)
485.	Alceste (Lully)
486.	Armide (Lully)
487.	Atys (Lully)
488.	Cadmus et Hermione (Lully)
489.	Persée (Lully)
490.	Phaëton (Lully)
491.	Juha (Madetoja)
492.	Don Perlimplin (Maderna)
493.	Bérénice (Magnard)
494.	Guercoeur (Magnard)
495.	I capricci di Callot (Malipiero)
496.	Giulio Cesare (Malipiero)
497.	L'orfeide (Malipiero)
498.	Il torneo notturno (Malipiero)
499.	Tre commedie Goldoniane (Malipiero)
500.	Il diavolo in giardino (Mannino)


----------



## Meyerbeer Smith (Mar 25, 2016)

MariaAlfonso said:


> Could you please share the list. This would help me.


501.	Romeo e Giulietta (Marchetti)
502.	Ruy Blas (Marchetti)
503.	Hans Heiling (Marschner)
504.	Der Templer und die Jüdin (Marschner)
505.	L'arbore di Diana (Martin y Soler)
506.	Una cosa rara (Martin y Soler)
507.	Comedy on the Bridge (Martinů)
508.	The Greek Passion (Martinů)
509.	Julietta (Martinů)
510.	The Miracles of Mary (Martinů)
511.	Amica (Mascagni)
512.	L'amico Fritz (Mascagni)
513.	Cavalleria rusticana (Mascagni)
514.	Iris (Mascagni)
515.	Isabeau (Mascagni)
516.	Lodoletta (Mascagni)
517.	Le maschere (Mascagni)
518.	Nerone (Mascagni)
519.	Parisina (Mascagni)
520.	Il piccolo Marat (Mascagni)
521.	Pinotta (Mascagni)
522.	Silvano (Mascagni)
523.	Galathée (Massé)
524.	Amadis (Massenet)
525.	Ariane (Massenet)
526.	Cendrillon (Massenet)
527.	Chérubin (Massenet)
528.	Le Cid (Massenet)
529.	Cléopâtre (Massenet)
530.	Don Quichotte (Massenet)
531.	Esclarmonde (Massenet)
532.	Eve (Massenet)
533.	Grisélidis (Massenet)
534.	Le jongleur de Notre-Dame (Massenet)
535.	Le mage (Massenet)
536.	Manon (Massenet)
537.	Marie-Magdeleine (Massenet)
538.	La navarraise (Massenet)
539.	Panurge (Massenet)
540.	Le portrait de Manon (Massenet)
541.	Le roi de Lahore (Massenet)
542.	Roma (Massenet)
543.	Sapho (Massenet)
544.	Thaïs (Massenet)
545.	Thérèse (Massenet)
546.	La vierge (Massenet)
547.	Werther (Massenet)
548.	Ginevra di Scozio (Mayr)
549.	Medea in Corinto (Mayr)
550.	Adrien (Méhul)
551.	Joseph en Egypte (Méhul)
552.	Uthal (Méhul)
553.	Die Beiden Pädagogen (Mendelssohn)
554.	Die Hochzeit des Camacho (Mendelssohn)
555.	Amahl and the Night Visitors (Menotti)
556.	Amelia al Ballo (Menotti)
557.	The Consul (Menotti)
558.	The Labyrinth (Menotti)
559.	Maria Golovin (Menotti)
560.	The Medium (Menotti)
561.	The Old Maid and the Thief (Menotti)
562.	The Saint of Bleecker Street (Menotti)
563.	The Telephone (Menotti)
564.	I Briganti (Mercadante)
565.	Il bravo (Mercadante)
566.	Caritea, regina di Spagna (Mercadante)
567.	Don Chischiotte alle nozze di Gamaccio (Mercadante)
568.	Elena da Feltre (Mercadante)
569.	Emma d'Antiochia (Mercadante)
570.	Francesca da Rimini (Mercadante)
571.	Il giuramento (Mercadante)
572.	Maria Stuarda regina di Scozia (Mercadante)
573.	I Normanni a Parigi (Mercadante)
574.	Orazi e Curiazi (Mercadante)
575.	Pelagio (Mercadante)
576.	Il reggente (Mercadante)
577.	Virginia (Mercadante)
578.	Zaira (Mercadante)
579.	Juha (Merikanto)
580.	La béarnaise (Messager)
581.	Béatrice (Messager)
582.	Coups de roulis (Messager)
583.	Fortunio (Messager)
584.	François les bas-bleus (Messager)
585.	Isoline (Messager)
586.	Madame Chrysanthème (Messager)	ONLY RECORDING IS CUT
587.	La petite fonctionnaire (Messager)
588.	Saint François d'Assise (Messiaen)
589.	Alimelek (Meyerbeer)
590.	Il crociato in Egitto (Meyerbeer)
591.	Dinorah (Meyerbeer)
592.	Emma di Resburgo (Meyerbeer)
593.	L'esule di Granata (Meyerbeer)
594.	L'étoile du nord (Meyerbeer)
595.	Ein Feldlager in Schlesien (Meyerbeer)
596.	Les Huguenots (Meyerbeer)
597.	Le prophète (Meyerbeer)
598.	Margherita d'Anjou (Meyerbeer)
599.	Robert le Diable (Meyerbeer)
600.	Semiramide (Meyerbeer)
601.	Bolivar (Milhaud)
602.	Christophe Colomb (Milhaud)
603.	Les malheurs d'Orphée (Milhaud)
604.	Maximilien (Milhaud)
605.	Médée (Milhaud)
606.	L'Orestie d'Eschyle (Milhaud)
607.	Le pauvre matelot (Milhaud)
608.	Saint Louis roi de France (Milhaud)
609.	Trois Opéras-Minute (Milhaud)
610.	Les fêtes de Paphos (Mondonville)
611.	Halka (Moniuszko)
612.	Na kwaterunku (Moniuszko)
613.	Straszny dwór (Moniuszko)
614.	L'amore dei tre re (Montemezzi)
615.	La nave (Montemezzi)
616.	Il combattimento di Tancredi e Clorinda (Monteverdi)
617.	L'incoronazione di Poppea (Monteverdi)
618.	L'Orfeo (Monteverdi)
619.	Il ritorno d'Ulisse in patria (Monteverdi)
620.	Luisa Fernanda (Moreno Torroba)
621.	Les amours de Ragonde (Mouret)
622.	Apollo et Hyacinthus (Mozart)
623.	Bastien und Bastienne (Mozart)
624.	La clemenza di Tito (Mozart)
625.	Così fan tutte (Mozart)
626.	Don Giovanni (Mozart)
627.	La finta giardiniera / Die Gärtnerin aus Liebe (Mozart)
628.	Idomeneo (Mozart)
629.	Lucio Silla (Mozart)
630.	Mitridate, re di Ponto (Mozart)
631.	Les mystères d'Isis (Mozart)
632.	Le nozze di Figaro (Mozart)
633.	Il re pastore (Mozart)
634.	Die Schuldigkeit des ersten Gebots (Mozart)
635.	Zaïde (Mozart)
636.	Die Zauberflöte (Mozart)
637.	Two Boys (Muhly) MET
638.	Boris Godunov (Mussorgsky)
639.	Khovanshchina (Mussorgsky)
640.	The Marriage (Mussorgsky)
641.	The Nursery (Mussorgsky)
642.	Sorochintsi Fair (Mussorgsky)
643.	Dubrovksy (Napravnik)
644.	Giovanni Sebastiano (Negri)
645.	Il templario (Nicolai)
646.	Maskarade (Nielsen)
647.	Saul and David (Nielsen)
648.	Intolleranza (Nono)
649.	Gilgamesh / Voyage into the Golden Screen (Norgård)
650.	Siddhartha (Norgård)
651.	Quo Vadis (Nowowiejski)
652.	The Man Who Mistook His Wife for a Hat (Nyman)
653.	Les 66 (Offenbach)
654.	Bagatelle (Offenbach)
655.	Barbe-bleue (Offenbach)
656.	Ba-ta-clan (Offenbach)
657.	Les bavards (Offenbach)
658.	Les brigands (Offenbach)
659.	La belle Hélène (Offenbach)
660.	La bonne d'enfant (Offenbach)
661.	La boulangère a des écus (Offenbach)
662.	La chanson de Fortunio (Offenbach)
663.	La chatte métamorphosée en femme (Offenbach)
664.	Christopher Columbus (Offenbach)
665.	La créole (Offenbach)
666.	Croquefer (Offenbach)
667.	Daphnis et Chloé (Offenbach)
668.	Une demoiselle en loterie (Offenbach)
669.	Les deux aveugles (Offenbach)
670.	Les deux pêcheurs (Offenbach)
671.	Le docteur Ox (Offenbach)
672.	Fantasio (Offenbach)
673.	Les fées du Rhin (Offenbach)
674.	Le fifre enchanté (Offenbach)
675.	La fille du tambour major (Offenbach)
676.	Le financier et le savetier (Offenbach)
677.	La foire Saint-Laurent (Offenbach)
678.	La grande-duchesse de Gérolstein (Offenbach)
679.	L'île de Tulipatan (Offenbach)
680.	Jacqueline (Offenbach)
681.	Jeanne qui pleure et Jean qui rit (Offenbach)
682.	La leçon de chant électromagnétique (Offenbach)
683.	Madame l'archiduc (Offenbach)
684.	Maître Péronilla (Offenbach)
685.	Un mari à la porte (Offenbach)
686.	Mesdames de la halle (Offenbach)
687.	Monsieur Choufleuri restera chez lui le… (Offenbach)
688.	Une nuit blanche (Offenbach)
689.	Pépito (Offenbach)
690.	La Périchole (Offenbach)
691.	La permission de 10 heures (Offenbach)
692.	Pierrette et Jacquot (Offenbach)
693.	Pomme d'api (Offenbach)
694.	Le pont des soupirs (Offenbach)
695.	Robinson Crusoe (Offenbach)
696.	Le roi carotte (Offenbach)
697.	La rose de Saint-Flour (Offenbach)
698.	Il signor Fagotto (Offenbach)
699.	Vent du soir (Offenbach)
700.	La vie parisienne (Offenbach)
701.	Le voyage dans la lune (Offenbach)
702.	Antigonae (Orff)
703.	Die Kluge (Orff)
704.	Der Mond (Orff)
705.	Alessandro nell'Indie (Pacini)
706.	Carlo di Borgogna (Pacini)
707.	Marina, regina d'Inghilterra (Pacini)
708.	Saffo (Pacini)
709.	Stella di Napoli (Pacini)
710.	L'ultimo giorno di Pompei (Pacini)
711.	Manru (Paderewski)
712.	Leonora (Paër)
713.	Il barbiere di Siviglia (Paisiello)
714.	La serva padrona (Paisiello)
715.	[Patrie! (Paladilhe)]
716.	Die Teufel von Loudun (Penderecki)
717.	Adriano in Siria (Pergolesi)
718.	Lo frate' nnamorato (Pergolesi)
719.	Livietta e Tracollo (Pergolesi)
720.	La serva padrona (Pergolesi)
721.	Morte dell'aria (Petrassi)
722.	Palestrina (Pfitzner)
723.	Tom Jones (Philidor)
724.	La buona figluola (Piccinni)
725.	Assassinio nella catedrale (Pizzetti)
726.	Clitennestra (Pizzetti)
727.	Debora e Jaele (Pizzetti)
728.	Fedra (Pizzetti)
729.	La figlia di Iorio (Pizzetti)
730.	Fra Gherardo (Pizzetti)
731.	Ifigenia (Pizzetti)
732.	Sophie Arnould (Pierné)
733.	Maristella (Pietri)
734.	La Gioconda (Ponchielli)
735.	I Lituani (Ponchielli)
736.	Marion Delorme (Ponchielli)
737.	I promessi sposi (Ponchielli)
738.	Pierre de Médicis (Poniatowski)
739.	I Shardana (Porrino)
740.	Dialogues des Carmélites (Poulenc)
741.	Les mamelles de Tirésias / Le bal masqué (Poulenc)
742.	La voix humaine (Poulenc)
743.	Betrothal in a Monastery (Prokofiev)
744.	The Fiery Angel (Prokofiev)
745.	The Gambler (Prokofiev)
746.	The Love for Three Oranges (Prokofiev)
747.	Maddalena (Prokofiev)
748.	Semyon Kotko (Prokofiev)
749.	Story of a Real Man (Prokofiev)
750.	War and Peace (Prokofiev)
751.	La Bohème (Puccini)
752.	Edgar (Puccini)
753.	La fanciulla del West (Puccini)
754.	Madama Butterfly (Puccini)
755.	Manon Lescaut (Puccini)
756.	Il trittico (Puccini)
757.	La Rondine (Puccini)
758.	Turandot (Puccini)
759.	Le Villi (Puccini)
760.	Werther (Pugnani)
761.	Dido and Aeneas (Purcell)
762.	Dioclesian (Purcell)
763.	The Fairy Queen (Purcell)
764.	The Indian Queen (Purcell)
765.	King Arthur (Purcell)
766.	Mârouf, savetier du Caire (Rabaud)
767.	Aleko (Rachmaninov)
768.	Francesca da Rimini (Rachmaninov)
769.	The Miserly Knight (Rachmaninov)
770.	Monna Vanna (Rachmaninov)
771.	Anacréon & Le berger fidèle (Rameau)
772.	Les Boréades (Rameau)
773.	Castor et Pollux (Rameau)
774.	Dardanus (Rameau)
775.	Les fêtes d'Hébé (Rameau)
776.	Hippolyte et Aricie (Rameau)
777.	Les indes galantes (Rameau)
778.	Naïs (Rameau)
779.	Platée (Rameau)
780.	Zoroastre (Rameau)
781.	Kaivos (Rautavaara)
782.	L'enfant et les prodigues (Ravel)
783.	L'heure espagnole (Ravel)
784.	Cecilia (Refice)
785.	Margherita da Cortona (Refice)
786.	Lear (Reimann)
787.	Belfagor (Respighi)
788.	La bella addormentata nel bosco (Respighi)
789.	La campana sommersa (Respighi)
790.	La fiamma (Respighi)
791.	Maria Egiziaca (Respighi)
792.	Semirama (Respighi)
793.	Salammbô (Reyer)
794.	Sigurd (Reyer)
795.	Corrado d'Altamura (Ricci)
796.	Crispino e la comare (Ricci)
797.	La festa di Piedigrotta (Ricci)
798.	La prigione d'Edimburgo (Ricci)
799.	Boyarina Vera Sheloga (Rimsky-Korsakov)
800.	The Golden Cockerel (Rimsky-Korsakov)
801.	Kashchey the Immortal (Rimsky-Korsakov)
802.	The Legend of the Invisible City of Kitezh (Rimsky-Korsakov)
803.	The Maid of Pskov (Rimsky-Korsakov)
804.	May Night (Rimsky-Korsakov)
805.	Mlada (Rimsky-Korsakov)
806.	Mozart and Salieri (Rimsky-Korsakov)
807.	Snegurochka (Rimsky-Korsakov)
808.	The Tale of Tsar Saltan (Rimsky-Korsakov)
809.	The Tsar's Bride (Rimsky-Korsakov)
810.	Il dibuk (Rocca)
811.	L'uragano (Rocca)
812.	Le pays (Ropartz)
813.	A Childhood Miracle / Three Sisters Who Are Not Sisters (Rorem)
814.	Miss Julie (Rorem)
815.	La guerra (Rosselini)
816.	Adelaide di Borgogna (Rossini)
817.	Armida (Rossini)
818.	Aureliano in Palmira (Rossini)
819.	Il barbiere di Siviglia (Rossini)
820.	Bianca e Falliero (Rossini)
821.	La cambiale di matrimonio (Rossini)
822.	La Cenerentola (Rossini)
823.	Ciro in Babilonia (Rossini)
824.	Demetrio e Polibio (Rossini)
825.	La donna del lago (Rossini)
826.	Elisabetta, regina d'Inghilterra (Rossini)
827.	L'equivoco stravagante (Rossini)
828.	Ermione (Rossini)
829.	La gazza ladra (Rossini)
830.	La gazzetta (Rossini)
831.	Guillaume Tell (Rossini)
832.	L'inganno felice (Rossini)
833.	L'italiana in Algeri (Rossini)
834.	Ivanhoé (Rossini)
835.	Maometto II (Rossini)
836.	Matilde di Shabran (Rossini)
837.	Mosè (Rossini)
838.	Mosè in Egitto (Rossini)
839.	L'occasione fa il ladro (Rossini)
840.	Otello (Rossini)
841.	La pietra del paragone (Rossini)
842.	Ricciardo e Zoraide (Rossini)
843.	Robert Bruce (Rossini)
844.	Semiramide (Rossini)
845.	Le siège de Corinthe (Rossini)
846.	Sigismondo (Rossini)
847.	Il signor Bruschino (Rossini)
848.	Tancredi (Rossini)
849.	Il turco in Italia (Rossini)
850.	Il viaggio a Reims (Rossini)
851.	Zelmira (Rossini)
852.	Il cappello di paglia di Firenze (Rota)
853.	Napoli Milionaria (Rota)
854.	La notte di un nevrastenico (Rota)
855.	Lo scoiattolo in gamba (Rota)
856.	Le devin du village (Rousseau)
857.	Padmâvâti (Roussel)
858.	The Demon (Rubinstein)
859.	L'amor soldato (Sacchini)
860.	Œdipe à Colone (Sacchini)
861.	Les barbares (Saint-Saëns)
862.	Etienne Marcel (Saint-Saëns)
863.	Henry VIII (Saint-Saëns)
864.	Phryné (Saint-Saëns)
865.	Proserpine (Saint-Saëns)
866.	Samson et Dalila (Saint-Saëns)
867.	L'amore innocente (Salieri)
868.	Axur, re d'Ormus (Salieri)
869.	Les Danaïdes (Salieri)
870.	L'Europa Riconosciuta (Salieri)
871.	Falstaff (Salieri)
872.	La grotta di Trofonio (Salieri)
873.	La locandiera (Salieri)
874.	Prima la musica, poi le parole (Salieri)
875.	La scuola de' gelosi (Salieri)
876.	La secchia rapita (Salieri)
877.	Tarare (Salieri)
878.	The Horseman (Sallinen)
879.	Kullervo (Sallinen)
880.	The Red Line (Punainen viiva) (Sallinen)
881.	La chartreuse de Parme (Sauguet)
882.	Notre Dame (Schmidt)
883.	Massimilla Doni (Schoeck)
884.	Penthesilea (Schoeck)
885.	Venus (Schoeck)
886.	Erwartung (Schönberg)
887.	Die glückliche Hand (Schönberg)
888.	Moses und Aron (Schönberg)
889.	Von Heute auf Morgen (Schönberg)
890.	Der ferne Klang (Schreker)
891.	Die Gezeichneten (Schreker)
892.	Irrelohe (Schreker)
893.	Der Schatzgräber (Schreker)
894.	Alfonso und Estrella (Schubert)
895.	Fierrabras (Schubert)
896.	Rosamunde (Schubert)
897.	Die Verschworenen, order Der häusliche Krieg (Schubert)
898.	Die Zwillingsbrüder (Schubert)
899.	Flammen (Schulhoff)
900.	Genoveva (Schumann)
901.	Da gelo a gelo (Sciarrino)
902.	Judith (Serov)
903.	Rogneda (Serov)
904.	Le cœur du moulin (Séverac)
905.	The Decembrists (Shaporin)
906.	Dead Souls (Shchedrin)
907.	The Gamblers (Shostakovich)
908.	Lady Macbeth of the Mtsensk District (Shostakovich)
909.	Moscow, Cheryomushki (Shostakovich)
910.	The Nose (Shostakovich)
911.	Braniboři v Čechách (Smetana)
912.	Čertova stěna (The Devil's Wall) (Smetana)
913.	Dalibor (Smetana)
914.	Dvě vdovy (The Two Widows) (Smetana)
915.	Hubička (The Kiss) (Smetana)
916.	Libuše (Smetana)
917.	Tajemství (The Secret) (Smetana)
918.	The Wreckers (Smyth)
919.	Il diavolo (Sordi)
920.	La tabernera del puerto (Sorozábal)
921.	Faust (Spohr)
922.	Jessonda (Spohr)
923.	Agnes von Hohenstaufen (Spontini)
924.	Fernand Cortez (Spontini)
925.	La fuga in maschera (Spontini)
926.	Milton (Spontini)
927.	Olympie (Spontini)
928.	Teseo riconosciuto (Spontini)
929.	La vestale (Spontini)
930.	Licht cycle (Stockhausen)
931.	Gli equivoci (Storace)
932.	Die Fledermaus (J. Strauss II)
933.	Wiener Blut (J. Strauss II)
934.	Der Zigeunerbaron (J. Strauss II)
935.	Die ägyptische Helena (Strauss)
936.	Arabella (Strauss)
937.	Ariadne auf Naxos (Strauss)
938.	Capriccio (Strauss)
939.	Daphne (Strauss)
940.	Elektra (Strauss)
941.	Feuersnot (Strauss)
942.	Die Frau ohne Schatten (Strauss)
943.	Guntram (Strauss)
944.	Intermezzo (Strauss)
945.	Die Liebe der Danae (Strauss)
946.	Der Rosenkavalier (Strauss)
947.	Salome (Strauss)
948.	Die schweigsame Frau (Strauss)
949.	Mavra (Stravinsky)
950.	The Nightingale (Stravinsky)
951.	Oedipus Rex (Stravinsky)
952.	Perséphone (Stravinsky)
953.	The Rake's Progress (Stravinsky)
954.	Le renard (Stravinsky)
955.	The Gondoliers (Gilbert and Sullivan)
956.	The Grand Duke (Gilbert and Sullivan)
957.	HMS Pinafore (Gilbert and Sullivan)
958.	Iolanthe (Gilbert and Sullivan)
959.	The Mikado (Gilbert and Sullivan)
960.	Patience (Gilbert and Sullivan)
961.	The Pirates of Penzance (Gilbert and Sullivan)
962.	Princess Ida (Gilbert and Sullivan)
963.	Ruddigore (Gilbert and Sullivan)
964.	The Sorcerer (Gilbert and Sullivan)
965.	Trial by Jury (Gilbert and Sullivan)
966.	Utopia, Ltd. (Gilbert and Sullivan)
967.	The Yeomen of the Guard (Gilbert and Sullivan)
968.	Ivanhoe (Sullivan)
969.	Die schöne Galathée (von Suppé)
970.	Dangerous Liaisons (Susa)
971.	Kròl Roger (Szymanowski)
972.	The First Emperor (Tan Dun) MET
973.	Cherevichki (Tchaikovsky)
974.	The Enchantress (Tchaikovsky)
975.	Eugene Onegin (Tchaikovsky)
976.	Iolanta (Tchaikovsky)
977.	The Maid of Orleans (Tchaikovsky)
978.	Mazeppa (Tchaikovsky)
979.	Oprichnik (Tchaikovsky)
980.	The Queen of Spades (Tchaikovsky)
981.	The Voyevoda (Tchaikovsky)
982.	La mandragola (Tedesco)
983.	Don Quichotte auf der Hochzeit des Comacho (Telemann)
984.	Orpheus (Telemann)
985.	Le sire de Vergy (Terrasse)
986.	Antigone (Theodorakis)
987.	Elektra (Theodorakis)
988.	Medea (Theodorakis)
989.	La cour de Célimène (Thomas)
990.	Le Caïd (Thomas)
991.	Hamlet (Thomas)
992.	Mignon (Thomas)
993.	Le songe d'une nuit d'été (Thomas)
994.	Four Saints in Three Acts (Thomson)
995.	Lord Byron (Thomson)
996.	The Mother of Us All (Thomson)
997.	Anoush (Tigranian)
998.	King Priam (Tippett)
999.	The Knot Garden / A Child of Our Time (Tippett)
1000.	The Midsummer Marriage (Tippett)
1001.	Miguel de Mañara (Tomasi)
1002.	La fiera delle meraviglie (Tosatti)
1003.	Il giudizio universale (Tosatti)
1004.	L'isola del tesoro (Tosatti)
1005.	Partita a pugni (Tosatti)
1006.	Il paradiso e il poeta (Tosatti)
1007.	Il sistema della dolcezza (Tosatti)
1008.	Barbara von Tisenhusen (Tubin)
1009.	Greek (Turnage)
1010.	Der Kaiser von Atlantis (Ullmann)
1011.	Der Sturz des Antichrist (Ullmann)
1012.	Giulietta e Romeo (Vaccai)
1013.	Hugh the Drover (Vaughan Williams)
1014.	The Pilgrim's Progress (Vaughan Williams)
1015.	The Poisoned Kiss (Vaughan Williams)
1016.	Riders to the Sea (Vaughan Williams)
1017.	Sir John in Love (Vaughan Williams)
1018.	Aida (Verdi)
1019.	Alzira (Verdi)
1020.	Aroldo (Verdi)
1021.	Attila (Verdi)
1022.	Un ballo in maschera (Verdi)
1023.	La battaglia di Legnano (Verdi) NEED LIBRETTO!
1024.	Il corsaro (Verdi)
1025.	Don Carlos (Verdi)
1026.	I due Foscari (Verdi)
1027.	Ernani (Verdi)
1028.	Falstaff (Verdi)
1029.	Un giorno di regno (Verdi)
1030.	Giovanna d'Arco (Verdi)
1031.	Jérusalem (Verdi)
1032.	I lombardi alla prima crociata (Verdi)
1033.	Luisa Miller (Verdi)
1034.	I masnadieri (Verdi)
1035.	Nabucco (Verdi)
1036.	Oberto (Verdi)
1037.	Otello (Verdi)
1038.	Rigoletto (Verdi)
1039.	Simon Boccanegra (Verdi)
1040.	Stiffelio (Verdi)
1041.	La Traviata (Verdi)
1042.	Les vêpres siciliennes (Verdi)
1043.	La madre (Veroli)
1044.	Cendrillon (Viardot)
1045.	Ercole su'l Termodonte (Vivaldi)
1046.	Il Farnace (Vivaldi)
1047.	L'Olimpiade (Vivaldi)
1048.	Ottone in Villa (Vivaldi)
1049.	Tito Manlio (Vivaldi)
1050.	Bohemios (Vives)
1051.	Doña Francisquita (Vives)
1052.	Il dottore di vetro (Vlad)
1053.	Der fliegende Holländer (Wagner)
1054.	Das Liebesverbot (Wagner)
1055.	Die Meistersinger von Nürnberg (Wagner)
1056.	Parsifal (Wagner)
1057.	Lohengrin (Wagner)
1058.	Rienzi (Wagner)
1059.	Der Ring des Nibelungen (Wagner)
1060.	Tannhäuser (Wagner)
1061.	Tristan und Isolde (Wagner)
1062.	Lurline (Wallace)
1063.	Maritana (Wallace)
1064.	Oberst Chabert (Waltershausen)
1065.	The Bear (Walton)
1066.	Troilus and Cressida (Walton)
1067.	The Crucible (Ward)
1068.	Abu Hassan (Weber)
1069.	Euryanthe (Weber)
1070.	Der Freischütz (Weber)
1071.	Oberon (Weber)
1072.	Peter Schmoll und seine Nachbarn (Weber)
1073.	Silvana (Weber)
1074.	Aufstieg und Fall der Stadt Mahagonny (Weill) MET
1075.	Die Dreigroschenoper (Weill)
1076.	Der Jasager (Weill)
1077.	Lady in the Dark (Weill)
1078.	Lost in the Stars (Weill)
1079.	Der Silbersee (Weill)
1080.	Street Scene (Weill)
1081.	Der Zar lässt sich photographieren (Weill)
1082.	Schwanda the Bagpiper (Weinberger)
1083.	Blond Eckbert (Weir)
1084.	A Night at the Chinese Opera (Weir)
1085.	Six Characters in Search of an Author (Weisgall)
1086.	Der Corregidor (Wolf)
1087.	L'amore medico (Wolf-Ferrari)
1088.	Die neugierigen Frauen / Le donne curiose (Wolf-Ferrari)
1089.	I gioielli della Madonna (Wolf-Ferrari)
1090.	I quatro rusteghi (Wolf-Ferrari)
1091.	Il segreto di Susanna (Wolf-Ferrari)
1092.	Sly (Wolf-Ferrari)
1093.	Oresteia (Xenakis)
1094.	Il bacio (Zandonai)
1095.	I cavalieri di Ekebu (Zandonai)
1096.	Conchita (Zandonai)
1097.	Francesca da Rimini (Zandonai)
1098.	Giulietta e Romeo (Zandonai)
1099.	Una partita (Zandonai)
1100.	L'uccellino d'oro (Zandonai)
1101.	La via della finestra (Zandonai)
1102.	Eine florentinische Tragödie (Zemlinsky)
1103.	Der Geburtstag der Infantin (Zemlinsky)
1104.	Kleider machen Leute (Zemlinsky)
1105.	Der König Kandaules (Zemlinksy)
1106.	Der Kreidekreis (Zemlinsky)
1107.	Sarema (Zemlinsky)
1108.	Der Traumgörge (Zemlinsky)
1109.	Der Zwerg (Zemlinsky)
1110.	Die Soldaten (B-A Zimmermann)
1111.	Weisse Rose (U Zimmermann)
1112.	The Enchanted Island (Various) MET


----------



## MariaAlfonso (Sep 3, 2017)

Thanks a lot NickFuller for helping me...


----------



## Meyerbeer Smith (Mar 25, 2016)

MariaAlfonso said:


> Thanks a lot NickFuller for helping me...


My pleasure!

I'm in Sri Lanka until January, though, so I won't be posting often.


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## Meyerbeer Smith (Mar 25, 2016)

Early Verdi: https://operascribe.com/2017/12/13/37-oberto-conte-di-san-bonifacio-giuseppe-verdi/


----------



## Meyerbeer Smith (Mar 25, 2016)

Cav: https://operascribe.com/2017/12/23/38-cavalleria-rusticana-pietro-mascagni/


----------



## nina foresti (Mar 11, 2014)

I cannot believe I have been fishing behind the boat all these months. I just discovered Domingo's (the tenor guy!) _Cavalleria Rusticana_ and really enjoyed it. I thank you a million times for this neat blog. I will be a regular visitor.


----------



## Meyerbeer Smith (Mar 25, 2016)

nina foresti said:


> I cannot believe I have been fishing behind the boat all these months. I just discovered Domingo's (the tenor guy!) _Cavalleria Rusticana_ and really enjoyed it. I thank you a million times for this neat blog. I will be a regular visitor.


Thank you, Nina!


----------



## Meyerbeer Smith (Mar 25, 2016)

Bizet's _Ivan IV_: https://operascribe.com/2017/12/30/39-ivan-iv-georges-bizet/

The next one will be more authentically Russian (but might have some French in it).


----------



## Jemarchesurtousleschemins (Apr 3, 2017)

NickFuller said:


> Bizet's _Ivan IV_: https://operascribe.com/2017/12/30/39-ivan-iv-georges-bizet/
> 
> The next one will be more authentically Russian (but might have some French in it).


_Eugene Onegin_? With Triquet's little French song?


----------



## Meyerbeer Smith (Mar 25, 2016)

Jemarchesurtousleschemins said:


> _Eugene Onegin_? With Triquet's little French song?


Close... And it's not Eugene Offegin! (Did Eugene and Tatiana have an Onegin, offegin relationship?)


----------



## Jemarchesurtousleschemins (Apr 3, 2017)

NickFuller said:


> Close... And it's not Eugene Offegin! (Did Eugene and Tatiana have an Onegin, offegin relationship?)


Good pun, Nickfuller! I wonder what it'll be...


----------



## Meyerbeer Smith (Mar 25, 2016)

Jemarchesurtousleschemins said:


> Good pun, Nickfuller! I wonder what it'll be...


And it's another Tchaikovsky (I said you were close!) - _The Queen of Spades_: https://operascribe.com/2018/01/02/40-the-queen-of-spades-пиковая-дама-pyotr-ilyich-tchaikovsky/

Summary: Good bits are good - but it's padded to the gills, and (like _Onegin_) nowhere near as good as _The Maid of Orleans_!


----------



## Jemarchesurtousleschemins (Apr 3, 2017)

NickFuller said:


> And it's another Tchaikovsky (I said you were close!) - _The Queen of Spades_: https://operascribe.com/2018/01/02/40-the-queen-of-spades-пиковая-дама-pyotr-ilyich-tchaikovsky/


Ah, yes, haven't listened to it in a long time... Now excuse me while I go do that.


----------



## Meyerbeer Smith (Mar 25, 2016)

Donizetti's _Belisario_: https://operascribe.com/2018/01/06/41-belisario-gaetano-donizetti/


----------



## Meyerbeer Smith (Mar 25, 2016)

Mascagni's _Isabeau_: https://operascribe.com/2018/01/13/42-isabeau-pietro-mascagni/


----------



## Meyerbeer Smith (Mar 25, 2016)

Massenet's _Navarraise_: https://operascribe.com/2018/01/14/43-la-navarraise-jules-massenet/


----------



## Pugg (Aug 8, 2014)

NickFuller said:


> Massenet's _Navarraise_: https://operascribe.com/2018/01/14/43-la-navarraise-jules-massenet/


Popp on CD, I missed that one, friendly hugs Nick. :cheers:


----------



## Meyerbeer Smith (Mar 25, 2016)

Pugg said:


> Popp on CD, I missed that one, friendly hugs Nick. :cheers:


The Popp's a good 'un; I have it on LP. :tiphat:


----------



## Meyerbeer Smith (Mar 25, 2016)

Favorite operas: https://operascribe.com/the-best/

It's, I confess, an _eccentric_ list - with some startling omissions.


----------



## Meyerbeer Smith (Mar 25, 2016)

_Der Widerspänstigen Zähmung / The Taming of the Shrew_, by Hermann Goetz: https://operascribe.com/2018/01/15/...ahmung-the-taming-of-the-shrew-hermann-goetz/

Next one... It's Italian, may be based on Walter Scott, and about a bride who goes quite mad.


----------



## The Conte (May 31, 2015)

NickFuller said:


> _Der Widerspänstigen Zähmung / The Taming of the Shrew_, by Hermann Goetz: https://operascribe.com/2018/01/15/...ahmung-the-taming-of-the-shrew-hermann-goetz/
> 
> Next one... It's Italian, may be based on Walter Scott, and about a bride who goes quite mad.


I Puritani? (Lucia is definitely based on Walter Scott.)

N.


----------



## Meyerbeer Smith (Mar 25, 2016)

The Conte said:


> I Puritani? (Lucia is definitely based on Walter Scott.)
> 
> N.


Got it!


----------



## Pugg (Aug 8, 2014)

NickFuller said:


> _Der Widerspänstigen Zähmung / The Taming of the Shrew_, by Hermann Goetz: https://operascribe.com/2018/01/15/...ahmung-the-taming-of-the-shrew-hermann-goetz/
> 
> Next one... It's Italian, may be based on Walter Scott, and about a bride who goes quite mad.


Then you have to spin a lot of different recordings.


----------



## Meyerbeer Smith (Mar 25, 2016)

I've added a page of major works: https://operascribe.com/key-works/

Anything I've overlooked?


----------



## Pugg (Aug 8, 2014)

NickFuller said:


> I've added a page of major works: https://operascribe.com/key-works/
> 
> Anything I've overlooked?


Even if you forgot 5 , I applaud your thoroughness.:clap:
If that word does do you justice.


----------



## Meyerbeer Smith (Mar 25, 2016)

Pugg said:


> Even if you forgot 5 , I applaud your thoroughness.:clap:
> If that word does do you justice.


Which five? :devil:


----------



## Pugg (Aug 8, 2014)

NickFuller said:


> Which five? :devil:


Even if...........I didn't say you forgot 5


----------



## Meyerbeer Smith (Mar 25, 2016)

Bellini's _Puritani_: https://wordpress.com/post/operascribe.com/4838

The next opera has a horse in it.


----------



## Pugg (Aug 8, 2014)

NickFuller said:


> Bellini's _Puritani_: https://wordpress.com/post/operascribe.com/4838
> 
> The next opera has a horse in it.


Let me think about that for a nano second.....................
By the way Nick, link is not correct, must log in there.


----------



## Meyerbeer Smith (Mar 25, 2016)

Pugg said:


> Let me think about that for a nano second.....................
> By the way Nick, link is not correct, must log in there.


Ahh... Try this: https://operascribe.com/2018/01/20/45-i-puritani-vincenzo-bellini/


----------



## Meyerbeer Smith (Mar 25, 2016)

Pugg said:


> Let me think about that for a nano second.....................
> By the way Nick, link is not correct, must log in there.


A clue: It's an epic, on which the composer (a controversial genius) worked for years, and it's influenced by Classical literature. The tenor (a warrior) betrays the heroine; she dies on a funeral pyre at the end. Oh, and it's a work you've listened to recently.


----------



## Pugg (Aug 8, 2014)

NickFuller said:


> Ahh... Try this: https://operascribe.com/2018/01/20/45-i-puritani-vincenzo-bellini/


You are under my bookmarks, so I could see it right away.
# post 134, I forgot to put the answer down, I am looking forward to it already, which one will come on top/ recommendation.


----------



## Meyerbeer Smith (Mar 25, 2016)

> It's an epic, on which the composer (a controversial genius) worked for years, and it's influenced by Classical literature. The tenor (a warrior) betrays the heroine; she dies on a funeral pyre at the end.


https://tinyurl.com/y76ehcvw

Some astonishing things, amidst appalling longueurs.


----------



## Star (May 27, 2017)

NickFuller said:


> https://tinyurl.com/y76ehcvw
> 
> Some astonishing things, amidst appalling longueurs.


Thanks for this. I think it says all that should be said about this appallingly misguided musical genius. Yes, Wagner should have written symphonies instead of these pretentious so-called 'music dramas' (which contain so little real drama.) His orchestral music is wonderful in its colour and excitement but as soon as the voices enter we lapse into slumber. As you say, some astonishing things amidst appalling longeurs. I won't add to your excellent summary which reflects much of my own opinion except to say that I loved your phrase , "Stockhausen is the sort of guy who makes Wagner look eminently sane." you can always find worse than RW.


----------



## Meyerbeer Smith (Mar 25, 2016)

Star said:


> Thanks for this. I think it says all that should be said about this appallingly misguided musical genius. Yes, Wagner should have written symphonies instead of these pretentious so-called 'music dramas' (which contain so little real drama.) His orchestral music is wonderful in its colour and excitement but as soon as the voices enter we lapse into slumber. As you say, some astonishing things amidst appalling longeurs. I won't add to your excellent summary which reflects much of my own opinion except to say that I loved your phrase , "Stockhausen is the sort of guy who makes Wagner look eminently sane." you can always find worse than RW.


Thanks for the response, Star - well-written, and sympathetic! I was rather worried the Wagnerians would accuse me of heresy, and haul me off to an auto-da-fé! I like the early Wagners - particularly _Lohengrin_ - which show that he could write ensembles and arias that rank with the best; but his doctrine got in the way. Even in _Parsifal_, though, there are wonderful things - the Prelude, the Transformation Music, much of the Grail scene... I think I remain equivocal!


----------



## Meyerbeer Smith (Mar 25, 2016)

Offenbach's _Grande-Duchesse de Gérolstein_: https://operascribe.com/2018/02/09/47-la-grande-duchesse-de-gerolstein-jacques-offenbach/


----------



## Meyerbeer Smith (Mar 25, 2016)

And Tchaikovsky's _Mazeppa_: https://operascribe.com/2018/02/09/48-мазепа-mazeppa-tchaikovsky/


----------



## Sloe (May 9, 2014)

NickFuller said:


> Thanks for the response, Star - well-written, and sympathetic! I was rather worried the Wagnerians would accuse me of heresy, and haul me off to an auto-da-fé! I like the early Wagners - particularly _Lohengrin_ - which show that he could write ensembles and arias that rank with the best; but his doctrine got in the way. Even in _Parsifal_, though, there are wonderful things - the Prelude, the Transformation Music, much of the Grail scene... I think I remain equivocal!


It is not that the operas lack numbers. The operas are one big number.
For operas were only the orchestra stands for the most memorable part I think that is a problem for much of contemporary opera.


----------



## Meyerbeer Smith (Mar 25, 2016)

Spontini's _Vestale_: https://operascribe.com/2018/02/10/49-la-vestale-gaspare-spontini/


----------



## Meyerbeer Smith (Mar 25, 2016)

Strauss's Ariadne auf Naxos: https://operascribe.com/2018/02/11/50-ariadne-auf-naxos-richard-strauss/


----------



## Bonetan (Dec 22, 2016)

Star said:


> Thanks for this. I think it says all that should be said about this appallingly misguided musical genius. Yes, Wagner should have written symphonies instead of these pretentious so-called 'music dramas' (which contain so little real drama.) His orchestral music is wonderful in its colour and excitement but as soon as the voices enter we lapse into slumber. As you say, some astonishing things amidst appalling longeurs. I won't add to your excellent summary which reflects much of my own opinion except to say that I loved your phrase , "Stockhausen is the sort of guy who makes Wagner look eminently sane." you can always find worse than RW.


As a devoted Wagnerian, who has studied this music in some detail for performance, this statement is like a gut punch. It leads me to believe that you haven't listened to a single one of Wagner's operas with an open mind. However, I've noticed in another thread during your back & forth with Woodduck that bashing Wagner is among your favorite pastimes, so I would expect nothing less.


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## Star (May 27, 2017)

Bonetan said:


> As a devoted Wagnerian, who has studied this music in some detail for performance, this statement is like a gut punch. It leads me to believe that you haven't listened to a single one of Wagner's operas with an open mind. However, I've noticed in another thread during your back & forth with Woodduck that bashing Wagner is among your favorite pastimes, so I would expect nothing less.


I say that this is a typical response from a 'devoted Wagnerian' in that you cannot see that someone can have listened to these operas and still be in total agreement with Nick Fuller. Sadly it is quite possible for someone who is educated (as I am) and have listened to the operas to come to the same conclusions as Nick. Because we do not care for Wagner, and view his operas as long winded and pretentious, albeit with some brilliant passages, does not make us lesser beings worthy of pity, of whom you 'would expect nothing less'. It just means that we do not care for Wagner's method of applying his undoubted musical genius, still less do we see Wagner some sort of cultural messiah as some people do. There is little point in me commenting any further except to say I am in pretty much in total agreement with Nick's brilliantly written assessment of the Ring. But I suppose he has not heard it either?


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## Meyerbeer Smith (Mar 25, 2016)

Thanks for that spirited defence, Star!

Bonetan: You obviously get more pleasure from Wagner than Star or I do, which is terrific. But don't take it personally when other people don't share your tastes. Musical salvation doesn't depend on redemption through Wagner!


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## Woodduck (Mar 17, 2014)

I'm sorry to have seen this thread. It contains some of the most arrogantly stupid remarks about an artistic genius I have ever seen or ever expect to see. To anyone who can describe _Die Walkure_ as _"dull beyond belief: a bloated, tuneless, pompous, portentous, sententious nullity...All recit, plus a recap of Rheingold. Is it actually music?",_ I could ask a question in return - "Do you have ears and a brain?" - or offer an observation: "No wonder you think Meyerbeer is a neglected genius."

People who find that they are unable to enjoy works of acknowledged greatness ought to have the grace and humility to admit that there are things which they, like all of us, simply don't "get." The fact that "everyone is entitled to his opinion" often amounts in practice to "everyone is entitled to make a pompous *** of himself in public." Is it really "opinion" to say that _"Stockhausen is the sort of guy who makes Wagner look eminently sane"_? - or is it just self-important, pseudointellectual exhibitionism?

If I have ever expressed any respect for the pontificators on this forum who think that their inability to enjoy Wagner is a sign of musical (or any other kind of) perceptiveness, I hereby retract it.


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## Bonetan (Dec 22, 2016)

Star said:


> I say that this is a typical response from a 'devoted Wagnerian' in that you cannot see that someone can have listened to these operas and still be in total agreement with Nick Fuller. Sadly it is quite possible for someone who is educated (as I am) and have listened to the operas to come to the same conclusions as Nick. Because we do not care for Wagner, and view his operas as long winded and pretentious, albeit with some brilliant passages, does not make us lesser beings worthy of pity, of whom you 'would expect nothing less'. It just means that we do not care for Wagner's method of applying his undoubted musical genius, still less do we see Wagner some sort of cultural messiah as some people do. There is little point in me commenting any further except to say I am in pretty much in total agreement with Nick's brilliantly written assessment of the Ring. But I suppose he has not heard it either?


For you to say that the man who many believe is the greatest composer of opera in history, should have "written symphonies instead of these so-called music dramas" should make it clear to everyone on TC that your opinion of Wagner is worth nothing & should be paid no attention.


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## Woodduck (Mar 17, 2014)

Bonetan said:


> For you to say that the man who many believe is the greatest composer of opera in history, should have "written symphonies instead of these so-called music dramas" should make it clear to everyone on TC that your opinion of Wagner is worth nothing & should be paid no attention.


Alas, Bonetan, wherever Wagner is mentioned, someone must rush in where angels fear to tread and instruct the waiting world in the failure of his art or the viciousness of his person. Why such people can't simply ignore what they despise is perhaps a worthwhile question; one might almost think that the widespread esteem in which Wagner is held by history and the music world is threatening to their reality. But fear not! We can go on quietly smiling while the rabble throw rotten eggs, comfortable in the knowledge that their spiteful demonstrations will quickly sink back into the swamp of ignorance from which they spring, that the magic of Old Klingsor will survive us all, and that his "bloated, tuneless, pompous, portentous, sententious nullities" will continue to inspire musicians, fill opera houses, and generate study upon study.


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## Star (May 27, 2017)

Bonetan said:


> For you to say that the man who many believe is the greatest composer of opera in history, should have "written symphonies instead of these so-called music dramas" should make it clear to everyone on TC that your opinion of Wagner is worth nothing & should be paid no attention.


No it should just mean that I have a different opinion from you. So de apparently Berlioz, Tchaikovsky, Stravinsky and a host of other people concerning Wagner. Oh not to mention Rossini, whose opinion that Wagner has wonderful moments followed by awful quarter hours is another. Just say someone's opinion is worth nothing and should be paid no attention to because they do not fully appreciate the so-called music dramas of a certain composer does not make their opinion invalid. It just means that they have come to a different conclusion to you. I was told many years ago as a university student that this was mature thinking - to appreciate other people had a different point of view even when you disagreed with it. 
Please note that TC is a discussion forum where opinions are shared. I have absolutely no problem in you disagreeing with me.But to say someone's opinion is not valid because they do not agree with you to me shows a lack of respect for that person's opinion.


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## Bonetan (Dec 22, 2016)

Star said:


> No it should just mean that I have a different opinion from you. So de apparently Berlioz, Tchaikovsky, Stravinsky and a host of other people concerning Wagner. Oh not to mention Rossini, whose opinion that Wagner has wonderful moments followed by awful quarter hours is another. Just say someone's opinion is worth nothing and should be paid no attention to because they do not fully appreciate the so-called music dramas of a certain composer does not make their opinion invalid. It just means that they have come to a different conclusion to you. I was told many years ago as a university student that this was mature thinking - to appreciate other people had a different point of view even when you disagreed with it.
> Please note that TC is a discussion forum where opinions are shared. I have absolutely no problem in you disagreeing with me.But to say someone's opinion is not valid because they do not agree with you to me shows a lack of respect for that person's opinion.


What you have is a hatred for the man that goes beyond his music, & because of that anything you say about his music is invalid. This is proven by your assertion that a composer who's music is revered, inspirational, transcendent, thought provoking, & has stirred passion in so many should have never bothered composing opera in the 1st place. Why would anyone in their right mind proclaim such a thing unless they have some other agenda? I shudder to think about an operatic landscape that didn't include Wagner? There are many composers who's music does nothing for me, but for the world to have never experienced their music would be a tragedy. So sorry to be harsh, but I do not respect your opinion in regards to Wagner. I can appreciate an unbiased opinion, but yours is not that.


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## Bonetan (Dec 22, 2016)

Woodduck said:


> Alas, Bonetan, wherever Wagner is mentioned, someone must rush in where angels fear to tread and instruct the waiting world in the failure of his art or the viciousness of his person. Why such people can't simply ignore what they despise is perhaps a worthwhile question; one might almost think that the widespread esteem in which Wagner is held by history and the music world is threatening to their reality. But fear not! We can go on quietly smiling while the rabble throw rotten eggs, comfortable in the knowledge that their spiteful demonstrations will quickly sink back into the swamp of ignorance from which they spring, that the magic of Old Klingsor will survive us all, and that his "bloated, tuneless, pompous, portentous, sententious nullities" will continue to inspire musicians, fill opera houses, and generate study upon study.


I suppose we can take solace in the fact that the man's genius was so great, that his music is so revered, that people feel the need to go out of their way to discredit his compositions to make themselves feel better. Does any other composer elicit such consternation in his detractors? Has any other artist in history?? Someone smarter than me will have to answer that


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## Woodduck (Mar 17, 2014)

Bonetan said:


> I suppose we can take solace in the fact that the man's genius was so great, that his music is so revered, that people feel the need to go out of their way to discredit his compositions to make themselves feel better. Does any other composer elicit such consternation in his detractors? Has any other artist in history?? Someone smarter than me will have to answer that


The case of Wagner is undoubtedly very complex and peculiar. I believe you're right in thinking that among composers he is uniquely controversial - rivaled, perhaps, only by Schoenberg; but with Schoenberg the discussion is confined more to the nature of music itself, without the cultural baggage that's unavoidable with Wagner.

Many composers inspire passionate devotion, but no other provokes such hostility: the negativity, the desire to denigrate the man and his art and refute the verdict of a century and a half of informed esteem for, and continuing engagement with, his work, reaches absurd proportions, and results in statements such as we've seen here by people who simply can't come to terms with him.

I think there are several reasons for this, ranging from the artistically irrelevant discomfort over listening to music by someone whose character one disapproves of to the deepest and subtlest aesthetic/psychological responses. Attempts to discuss the subject too often get hung up on the first question (which is really only a prejudice requiring little comment), but the more profound question of what people find incomprehensible or repellent in Wagner's art deserves thoughtful consideration.

It's too bad people confuse their prejudices with factual judgments worthy of publication. Sometimes all we can do is point out the fallacy.


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## DavidA (Dec 14, 2012)

NickFuller said:


> https://tinyurl.com/y76ehcvw
> 
> Some astonishing things, amidst appalling longueurs.


I wasn't going to enter one of these again but I must just thank you Nick (if that is your real name) for a most illuminating, amusing and brilliantly written piece. As a fellow writer I say congratulations! We do have to learn not to take opera too seriously and sometimes a little puncturing of the pretensions (and no-one was more pretentious than Wagner) is good for everyone. Opera should not be taken too seriously - why the most successful of operatic composers (Mozart and Verdi) didn't. Mozart's operas are laced with humour and dear old Verdi made no secret of the fact he was out to entertain the crowds and make filthy lucre so the could go back and live his preferred life as a gentleman farmer. The fact he had a talent for writing brilliant operas was a bonus for us all.
The one thing I'd take issue with is when you say Wagner suffered from chronic constipation. I'd actually say he suffered from the opposite, especially while writing his all-too-tedious prose. You make the point of how he needed an editor - something I've often said. Then having to join it all together with long passages of quasi-recitative. It makes for boredom imo, not music drama. Just listen to how a great opera writer like Verdi produces drama - I've recently seen Rigoletto again and the drama that unfolds in that shortish opera is far more intense than in the Ring imo. Why? Verdi knew how to write opera and draw characters intensely. 
It's interesting that Wagner is at his best imo when he is being his most conventional. Like the beginning of Walkure has a superb storm. It then lapses into longueurs until just before Siegmund sings the Wintersturm and the whole comes to life. The end of the act is brilliant but it is far more like conventional opera. Just one example but it is why I can take Wagner in small doses. When he's good he hits it. Pity about what comes in-between so often. Excuse me while I fast forward.
The other problem is that Wagner's demands - both vocally and in staging - are often far beyond what normal singers can achieve. This might be a plus in some people's eyes but a minus as far as I'm concerned in that I don't believe Wagner had the theatrical sense of a Mozart or a Verdi.
Anyway thanks for a piece that lightened my day. I've just read it again and it put a smile on my face. The one thing we mustn't do with operators take it too seriously else we lose our sense of perspective. Why I can chortle at the Marx Brothers lampooning Trovatore or the Muppets interrupting Beverly Sills with "This is the only opera that I know!" Thankfully Ms Sills showed a wonderful sense of humour at the comeuppance. Why? Opera is an entertainment, to be enjoyed but not to be taken too seriously.


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## Byron (Mar 11, 2017)

DavidA said:


> Opera is an entertainment, to be enjoyed but not to be taken too seriously.


Why not? Does that prospect scare you? Offend you?


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## Bonetan (Dec 22, 2016)

Hahaha DavidA you couldn't make your point without sliding in a jab at Wagner with your "most successful of operatic composers" comment. Even worse you stated it as fact. What is that other than an attempt to ruffle some Wagnerian feathers? It's just as Woodduck & I were discussing on this very page.


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## DavidA (Dec 14, 2012)

Byron said:


> Why not? Does that prospect scare you? Offend you?


Not at all. Why should it? It's just that there are a lot of things in life that are far more important to me than opera.


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## Bonetan (Dec 22, 2016)

DavidA said:


> Not at all. Why should it? It's just that there are a lot of things in life that are far more important to me than opera.


If that's the case why continue to go out of your way to denigrate Wagner? Why not let it go & focus on the things that are more important?


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## DavidA (Dec 14, 2012)

Bonetan said:


> Hahaha DavidA you couldn't make your point without sliding in a jab at Wagner with your "most successful of operatic composers" comment. Even worse you stated it as fact. What is that other than an attempt to ruffle some Wagnerian feathers? It's just as Woodduck & I were discussing on this very page.


Ruffle Wagnerian feathers? I've got far better things to do with my time. No I was just giving my opinion. Most comments on TC are opinion if you notice. That is what TC is mainly about. I would have thought that you would have realised that when I said that Mozart and Verdi were the most successful opera composers it was my opinion.


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## Byron (Mar 11, 2017)

DavidA said:


> Not at all. Why should it? It's just that there are a lot of things in life that are far more important to me than opera.


If it doesn't scare or offend you, then why do you feel the need to state that it shouldn't be taken seriously ad naseum?


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## Woodduck (Mar 17, 2014)

We do have to learn not to take opera too seriously and sometimes a little puncturing of the pretensions (and no-one was more pretentious than Wagner) is good for everyone.

There is a difference between puncturing pretensions and scrawling verbal graffiti on the monument in the park. That is clearly what you, Nick, and Star are out to do to Wagner.

Opera should not be taken too seriously.

What is "too" seriously? What business is it of yours how seriously anyone takes anything?

Dear old Verdi made no secret of the fact he was out to entertain the crowds and make filthy lucre.

That statement degrades the art and character of Verdi, and reveals the shallowness of your own understanding of art and artists.

The one thing I'd take issue with is when you say Wagner suffered from chronic constipation. I'd actually say he suffered from the opposite.

Mind your own bowel functions.

It makes for boredom imo, not music drama. Just listen to how a great opera writer like Verdi produces drama - I've recently seen Rigoletto again and the drama that unfolds in that shortish opera is far more intense than in the Ring imo. Why? Verdi knew how to write opera and draw characters intensely.

There are different kinds of drama. You can't comprehend Wagners kind - internal, psychological drama - so you think it isn't there. TV car chases are probably more your thing.

It's interesting that Wagner is at his best imo when he is being his most conventional. 

Neither interesting nor true. There is _nothing_ "conventional" about _Tristan und Isolde_. Pity you can't get interested.

The other problem is that Wagner's demands are often far beyond what normal singers can achieve.

Not true. Singers with voices adequate for most Wagnerian roles are perfectly normal and not uncommon, merely less common than those capable of singing Mozart. Only a few of his roles make extreme demands. Many of Verdi's and Strauss's roles are similarly beyond the capablities of most singers. Difficulty is not a defect. A hard thing well done may be a great thing.

The one thing we mustn't do with opera is take it too seriously else we lose our sense of perspective.

Says a person whose perspective on Wagner's art arises from a distaste for its very essence.

Opera is an entertainment, to be enjoyed but not to be taken too seriously.

Your idea of not taking something too seriously is keeping a lookout for discussions of Wagner so that you can rush in to undercut the pleasure of those who take seriously what you don't care for.


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## Bonetan (Dec 22, 2016)

DavidA said:


> Ruffle Wagnerian feathers? I've got far better things to do with my time. No I was just giving my opinion. Most comments on TC are opinion if you notice. That is what TC is mainly about. I would have thought that you would have realised that when I said that Mozart and Verdi were the most successful opera composers it was my opinion.


So you're going to tell us how opera is meant to be enjoyed, & then use that arbitrary barometer to take shots at Wagner? I'm sure you can see the problem with that...


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## Woodduck (Mar 17, 2014)

Bonetan said:


> So you're going to tell us how opera is meant to be enjoyed, & then use that arbitrary barometer to take shots at Wagner? *I'm sure you can see the problem with that...*


Don't be _too_ sure...


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## Woodduck (Mar 17, 2014)

It might be _a propos_ to remind our anti-Wagnerian graffitist, Mr A, of what his beloved Verdi had to say about that most Wagnerian of operas,_Tristan und Isolde._ I call it the "most Wagnerian" because it's the one in which there is the least action, with virtually all of the drama taking place within the souls of the characters, and in which the music is almost entirely devoted to tracing the development and meaning of that internal drama, with even the sounds of the night and the piping of the shepherd utilized as symbols of love, loss, and longing. The opera embodies the kind of psychological drama, and the corresponding kind of musical "psychic narrative," which Wagner invented and at which he is unsurpassed, and it revolutionized opera. Here's what that other operatic genius of the 19th century said about it:

_'The work which always arouses my greatest admiration is Tristan. This gigantic structure fills me time and time again with astonishment and awe, and I still cannot quite comprehend that it was conceived and written by a human being. I consider the second act, in its wealth of musical invention, its tenderness and sensuality of musical expression and inspired orchestration, to be one of the finest creations that has ever issued from a human mind.' _


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## Barbebleu (May 17, 2015)

Glad you're feeling better Itullian, I hope!


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## Meyerbeer Smith (Mar 25, 2016)

Review of Rossini's _Turco in Italia_: https://operascribe.com/2018/02/12/51-il-turco-in-italia-gioachino-rossini/


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## Star (May 27, 2017)

NickFuller said:


> Review of Rossini's _Turco in Italia_: https://operascribe.com/2018/02/12/51-il-turco-in-italia-gioachino-rossini/


Great! Just listing to it. Daft plot. Music is fun

Maria Callas version. Some of orchestral playing is ropey but singing is good


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## Star (May 27, 2017)

Bonetan said:


> What you have is a hatred for the man that goes beyond his music, & because of that anything you say about his music is invalid. This is proven by your assertion that a composer who's music is revered, inspirational, transcendent, thought provoking, & has stirred passion in so many should have never bothered composing opera in the 1st place. Why would anyone in their right mind proclaim such a thing unless they have some other agenda? I shudder to think about an operatic landscape that didn't include Wagner? There are many composers who's music does nothing for me, but for the world to have never experienced their music would be a tragedy. So sorry to be harsh, but I do not respect your opinion in regards to Wagner. I can appreciate an unbiased opinion, but yours is not that.


And yours is unbiased? I can't believe you guys! :lol:

i think you will find that with Wagner few people are unbiased.


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## DavidA (Dec 14, 2012)

Woodduck said:


> It might be _a propos_ to remind our *anti-Wagnerian graffitist, *Mr A, of what his beloved Verdi had to say about that most Wagnerian of operas,_Tristan und Isolde._ I call it the "most Wagnerian" because it's the one in which there is the least action, with virtually all of the drama taking place within the souls of the characters, and in which the music is almost entirely devoted to tracing the development and meaning of that internal drama, with even the sounds of the night and the piping of the shepherd utilized as symbols of love, loss, and longing. The opera embodies the kind of psychological drama, and the corresponding kind of musical "psychic narrative," which Wagner invented and at which he is unsurpassed, and it revolutionized opera. Here's what that other operatic genius of the 19th century said about it:
> 
> _'The work which always arouses my greatest admiration is Tristan. This gigantic structure fills me time and time again with astonishment and awe, and I still cannot quite comprehend that it was conceived and written by a human being. I consider the second act, in its wealth of musical invention, its tenderness and sensuality of musical expression and inspired orchestration, to be one of the finest creations that has ever issued from a human mind.' _


Woodduck, I have said before I do not respond to personal attacks like this. Whatever we feel about each other this sort of thing is out of place on TC. I'd politely ask you to please desist from such things.

And in case you hadn't noticed Nick's blog was about the Ring not Tristan


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## Bonetan (Dec 22, 2016)

Star said:


> And yours is unbiased?


Yes, mine is unbiased. I have a preference for some composers over others as we all do, but no bias towards any.


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## Star (May 27, 2017)

Bonetan said:


> Yes, mine is unbiased. I have a preference for some composers over others as we all do, but no bias towards any.


 I've always been taught in group dynamics that we all have biases and maturity of thought comes with the realisation of our own biases.


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## Meyerbeer Smith (Mar 25, 2016)

Review of Grétry's _Magnifique_: https://operascribe.com/2018/02/13/52-le-magnifique-andre-ernest-modeste-gretry/

Light, but delightful. Has a reasonably well-known overture:


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## Woodduck (Mar 17, 2014)

DavidA said:


> Woodduck, I have said before I do not respond to personal attacks like this. Whatever we feel about each other this sort of thing is out of place on TC. I'd politely ask you to please desist from such things.
> 
> And in case you hadn't noticed Nick's blog was about the Ring not Tristan


And in case _you_ hadn't noticed, I was addressing _you_ and your comical (and not _Ring_-specific) insistence that Verdi shared your philosophy of not taking opera "too seriously" and thereby "losing his perspective." I can only imagine what delightful Italian expletives he'd come up with in response to that.

I would suggest that you read about Verdi's own serious quest for greater and greater artistic integrity and depth. As for his success in transcending the notion of opera as mere entertainment, the evidence is there for all to hear. But his appreciation for Wagner certainly provides further confirmation of a profound respect for the form's potential to be something more than a good show.


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## DavidA (Dec 14, 2012)

Can I recommend Nick's opera blog to everyone. There are an awful lot of things covered already and it's most informative.


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## Pugg (Aug 8, 2014)

DavidA said:


> Can I recommend Nick's opera blog to everyone. There are an awful lot of things covered already and it's most informative.


Yes you can. :cheers:


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## Star (May 27, 2017)

Pugg said:


> Yes you can. :cheers:


Let me also add my recommendation for opera lovers to read Nick Fuller's blog. Please don't let the few negative comments put you off. He says 'I'm a writer and journalist, living in Australia. I've written about opera and classical music for online publications and print media'. He certainly apoears to know what he is talkng about. Great introduction to operas we seldom hear. And to those we know!


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## Meyerbeer Smith (Mar 25, 2016)

Thank you all for those kind comments!

Here's the latest post: 
Mercadante's _Giuramento_: https://operascribe.com/2018/02/15/53-il-giuramento-saverio-mercadante/


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## barcelona2015 (Feb 15, 2018)

Hi everyone, a couple of years ago, i was in Barcelona and heard these street performers singing this song. Can anyone tell me what the name of this song is?? thank you!!


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## Pugg (Aug 8, 2014)

barcelona2015 said:


> Hi everyone, a couple of years ago, i was in Barcelona and heard these street performers singing this song. Can anyone tell me what the name of this song is?? thank you!! [


hello you, its:




 O mio babbino caro - Puccini / Kiri te Kanwa.
If you have more questions, we have a section for this sort of questions . 

see;
http://www.talkclassical.com/identifying-classical-music/


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## Barelytenor (Nov 19, 2011)

^ And rather badly sung, at that. The milieu of many a soprano past her prime.

Kind regards,

George


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## Woodduck (Mar 17, 2014)

^^^ Heh heh. It's short, it only goes up to A, and they all think they can sing it and that everybody wants to hear it. They're more or less right.


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## Pugg (Aug 8, 2014)

Barelytenor said:


> ^ And rather badly sung, at that. The milieu of many a soprano past her prime.
> 
> Kind regards,
> 
> George


Do you really think she had a prime George, sorry Nick, off topic.


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## Barelytenor (Nov 19, 2011)

^ I never said that, Pugg. No, I really doubt that she did. Wasn't this the tune they used for the shocking rape scene in Downton Abbey when Dame Kiri was impersonating Adelina Patti or Nellie Melba or some such?

And Woodduck, I think it only goes up to either A flat or a flat. Heh. 

I have been thinking about Nick's astonishing view of Wagner's Ring and can't say any more but that I think it is complete rubbish. To me it has invalidated anything else he might write, so sorry mate, I have decided to waste my time better elsewhere. And yes I did consider this carefully. Nonetheless, good luck to you. I think you need Wagner a lot more than Wagner needs you.

Kind regards,

George


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## Star (May 27, 2017)

Barelytenor said:


> ^ I never said n Abbey when Dame Kiri was impersonating Adelina Patti or Nellie Melba or some such?
> N
> And Woodduck, I think it only goes up to either A flat or a flat. Hehthat, Pugg. No, I really doubt that she did. Wasn't this the tune they used for the shocking rape scene in Downton Abbey when Dame Kiri was impersonating Adelina Patti or Nellie Melba or some such?
> 
> ...


No George, it was not complete rubbish. It was someone who had a different opinion to you. So have I! Please learn in life that if people disagree with you on a certain matter, it does not invalidate everything else they say. After all, why does anyone _need_ Wagner? You make him sound like a cult! Perhaps he is to some people? To be honest this is the sort of thing that puts me off Wagner. Seems a terribly narrow view.


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## The Conte (May 31, 2015)

Barelytenor said:


> I think you need Wagner a lot more than Wagner needs you.
> 
> Kind regards,
> 
> George


Whoah! There's food for thought there.

N.


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## The Conte (May 31, 2015)

Star said:


> No George, it was not complete rubbish. It was someone who had a different opinion to you. So have I! Please learn in life that if people disagree with you on a certain matter, it does not invalidate everything else they say. After all, why does anyone _need_ Wagner? You make him sound like a cult! Perhaps he is to some people? To be honest this is the sort of thing that puts me off Wagner. Seems a terribly narrow view.


Are there works of art that you don't _like_, but you see the value in? That's what this boils down to. My favourite Puccini opera is Madama Butterfly because I get lost in the heroine's predicament and can identify with it 100%. However, if I were to debate the merits of this opera, I recognise that the point "because I love it" doesn't hold much water. It's a personal opinion and another person may love Tosca in the same way. Instead I can say that Boheme or Turandot are _better_ operas for a variety of _objective_ reasons, despite my personal _subjective_ preference for Butterfly. There isn't a wasted note in Boheme and Turandot has an impressively orchestrated score with many imaginative touches (the harps that are to played with card inserted between the strings to create what is effectively a new instrument.)

There are a number of operas that I don't particularly enjoy, but can see the value in. Otherwise everything is an opinion and it just becomes a case of what one likes. You like the operas you like and that's fine. Whilst I'm interested in your taste in opera, if you can't discuss operas objectively there's not much room for wider discussion.

N.


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## Woodduck (Mar 17, 2014)

The Conte said:


> Are there works of art that you don't _like_, but you see the value in? That's what this boils down to. There are a number of operas that I don't particularly enjoy, but can see the value in. Otherwise everything is an opinion and it just becomes a case of what one likes. You like the operas you like and that's fine. Whilst I'm interested in your taste in opera, if you can't discuss operas objectively there's not much room for wider discussion.
> 
> N.


When people don't recognize the difference between taste and judgment, or opinion and fact, it may be that the difference has never occurred to them, or that they believe that no objectivity is possible in discussions of art. Either way, it's at least disconcerting when they make sweeping, draconian pronouncements about what they do or don't enjoy, without even an acknowledgement of a contrary view, even when that contrary view is widely accepted by knowledgeable or cultivated people.

Like you, I can say that I don't care for some works that, objectively, I consider very fine. You couldn't drag me across the street to a performance of _Tosca_, yet I think it's a brilliant piece of musical theater and find the film of act two with Callas and Gobbi perhaps the most exciting opera film ever made. Likewise, I don't care for Berg's _Lulu,_ but I recognize it as a brilliant and important artistic achievement.

Though I've objected strongly to Nick's flippant disparagement of _Die Walkure,_ I would urge George not to dismiss some of the other things Nick has written, or his service in bringing obscure operas to people's attention. We needn't agree with him about the artistic worth of some of these to check them out for ourselves and to value his contributions to our knowledge.


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## Star (May 27, 2017)

The Conte said:


> Are there works of art that you don't _like_, but you see the value in? That's what this boils down to. My favourite Puccini opera is Madama Butterfly because I get lost in the heroine's predicament and can identify with it 100%. However, if I were to debate the merits of this opera, I recognise that the point "because I love it" doesn't hold much water. It's a personal opinion and another person may love Tosca in the same way. Instead I can say that Boheme or Turandot are _better_ operas for a variety of _objective_ reasons, despite my personal _subjective_ preference for Butterfly. There isn't a wasted note in Boheme and Turandot has an impressively orchestrated score with many imaginative touches (the harps that are to played with card inserted between the strings to create what is effectively a new instrument.)
> 
> There are a number of operas that I don't particularly enjoy, but can see the value in. Otherwise everything is an opinion and it just becomes a case of what one likes. You like the operas you like and that's fine. Whilst I'm interested in your taste in opera, if you can't discuss operas objectively there's not much room for wider discussion.
> 
> N.


Of course, but opera criticism is like that- opinion. So is the whole of art criticism. It's our preferences. If some guys can't see that and agree to dsagree with someone's blog without dismissing it as 'rubbish' (giving no reason for their opinion btw) and then saying they couldn't take anything Nck said seriously because of that - this doesn't strike me as 'objective'. Particularly as Nick had written a whole blog on the subject givng his reasons for his opinion.
And the statement: 'You need Wagner more than Wagner needs you!' Objective statement? Of course not! Why are you crying out for objectivity from me then? 
I was in Amsterdam talkng with a Dutch academic who is really into the arts and he quite shocked me when he told me he didn't reckon much to Van Gogh as an artist. Now because I disagree with him on Van Gogh (a favourite artist of mine) I do not dismiss his opinion on everything else he says. It's a matter of respecting other people's opinions while disagreeing with them, something I have found over the years to be the basis of mature if robust argument.


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## The Conte (May 31, 2015)

Star said:


> Of course, but opera criticism is like that- opinion. So is the whole of art criticism. It's our preferences. If some guys can't see that and agree to dsagree with someone's blog without dismissing it as 'rubbish' (giving no reason for their opinion btw) and then saying they couldn't take anything Nck said seriously because of that - this doesn't strike me as 'objective'. Particularly as Nick had written a whole blog on the subject givng his reasons for his opinion.
> And the statement: 'You need Wagner more than Wagner needs you!' Objective statement? Of course not! Why are you crying out for objectivity from me then?
> I was in Amsterdam talkng with a Dutch academic who is really into the arts and he quite shocked me when he told me he didn't reckon much to Van Gogh as an artist. Now because I disagree with him on Van Gogh (a favourite artist of mine) I do not dismiss his opinion on everything else he says. It's a matter of respecting other people's opinions while disagreeing with them, something I have found over the years to be the basis of mature if robust argument.


Putting your whataboutery aside, how can there be a "mature if robust argument" if it's all just opinion? I (like some others here) make a distinction between taste and judgement which allows for intelligent discussion of works of art. If the "argument" can only consist of 'I like X', 'Well, I don't, but I like Y', 'Well, I don't like Y, but that's fine', then it's not interesting for me. However, I respect your opinion if such exchanges get your juices going and/or you find them valuable.

N.


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## Star (May 27, 2017)

The Conte said:


> Putting your whataboutery aside, how can there be a "mature if robust argument" if it's all just opinion? I (like some others here) make a distinction between taste and judgement which allows for intelligent discussion of works of art. If the "argument" can only consist of 'I like X', 'Well, I don't, but I like Y', 'Well, I don't like Y, but that's fine', then it's not interesting for me. However, I respect your opinion if such exchanges get your juices going and/or you find them valuable.
> 
> N.


I think you're pkaying a bit with semantics here. You can have a mature and robust argument on opinion. I mean, what do politicians argue about? Most of it is opinion. Most arguments on TC are opinion. I would say the controversial part of Nick's bog on Wagner was informed opinion, what he thought of the operas. It certainly generated argument though. I agree with your point though that you can't argue with just a stated opinion: "I like / don't like."


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## Woodduck (Mar 17, 2014)

Star said:


> I think you're pkaying a bit with semantics here. *You can have a mature and robust argument on opinion. I mean, what do politicians argue about? *Most of it is opinion. Most arguments on TC are opinion. *I would say the controversial part of Nick's bog on Wagner was informed opinion,* what he thought of the operas. It certainly generated argument though. I agree with your point though that you can't argue with just a stated opinion: "I like / don't like."


Oh for Pete's sake...  Sorry to have to prolong this, but let's quote that "informed opinion" again:

"Dull beyond belief: a bloated, tuneless, pompous, portentous, sententious nullity...Is it actually music?"

Anyone who would recognize Wagner's masterpiece I]Die Walkure[/I] in this conspicuously unqualified broadside hasn't the foggiest idea what an informed opinion looks like - or, to the precise point I and The Conte are making, what the difference is between opinion and fact, or personal impression and objective statement. I will go out on a limb (but not very far!) and venture to say that the only thing that "informs" an opinion like that is the limited musical perceptiveness of its author, who seems unable, like some who first heard Wagner's music in the mid-19th century, to hear the melodic content or structure in it, or to respond to its expressive import.

When we can't enjoy highly acclaimed art of certain kinds, and have no objective criteria to offer in support of our dislike, the truly "informed" thing to do is simply to admit our own shortcomings.

(Btw, political arguments, too, need to be backed up with facts to have any credibility or value.)


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## The Conte (May 31, 2015)

Star said:


> I think you're pkaying a bit with semantics here. You can have a mature and robust argument on opinion. I mean, what do politicians argue about? Most of it is opinion. Most arguments on TC are opinion. I would say the controversial part of Nick's bog on Wagner was informed opinion, what he thought of the operas. It certainly generated argument though. I agree with your point though that you can't argue with just a stated opinion: "I like / don't like."


I think you may be trying to have your cake and eat it here. It seems you want to engage in debate, but when someone can present facts that counter your argument you want to be able to say that it's just their opinion, so their point doesn't really matter.

Taking your Van Gogh example as a case in point I have to say I'm not keen on his art as he hardly produced any paintings and spent far too much time on sculpture and I'm not a huge fan of sculpture.

N.


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## Woodduck (Mar 17, 2014)

The Conte said:


> I think you may be trying to have your cake and eat it here. It seems you want to engage in debate, but when someone can present facts that counter your argument you want to be able to say that it's just their opinion, so their point doesn't really matter.


The worst thing you can do with some people is present or ask for facts. It is the one offense for which you will never be forgiven.


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## Woodduck (Mar 17, 2014)

The Conte said:


> Taking your Van Gogh example as a case in point I have to say I'm not keen on his art as he hardly produced any paintings and spent far too much time on sculpture and I'm not a huge fan of sculpture.


You're thinking of someone other than Van Gogh. He was just a painter, I believe, and a prolific one. Remember "Starry Night"?


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## KenOC (Mar 7, 2011)

Woodduck said:


> ...When we can't enjoy highly acclaimed art of certain kinds, and have no objective criteria to offer in support of our dislike, the truly "informed" thing to do is simply to admit our own shortcomings.


Very sound advice for some people -- specifically, people who don't like the music I like!  The word "shortcomings", I believe, was invented for just such people.


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## Faustian (Feb 8, 2015)

The Conte said:


> Are there works of art that you don't _like_, but you see the value in? That's what this boils down to. My favourite Puccini opera is Madama Butterfly because I get lost in the heroine's predicament and can identify with it 100%. However, if I were to debate the merits of this opera, I recognise that the point "because I love it" doesn't hold much water. It's a personal opinion and another person may love Tosca in the same way. Instead I can say that Boheme or Turandot are _better_ operas for a variety of _objective_ reasons, despite my personal _subjective_ preference for Butterfly. There isn't a wasted note in Boheme and Turandot has an impressively orchestrated score with many imaginative touches (the harps that are to played with card inserted between the strings to create what is effectively a new instrument.)
> 
> There are a number of operas that I don't particularly enjoy, but can see the value in. Otherwise everything is an opinion and it just becomes a case of what one likes. You like the operas you like and that's fine. Whilst I'm interested in your taste in opera, if you can't discuss operas objectively there's not much room for wider discussion.
> 
> N.


I too feel there's more to good art criticism than simply the opinion, or value judgement. As far as the essay under debate here goes, I'm not going to bang away at it or tackle it point by point. I'll only add that while it was certainly well written, it didn't strike me as particularly insightful. It seemed more concerned with flashy turns of phrase and glib put downs than any serious analysis. In fact, the main take away I got from reading it was that the author was criticizing Wagner's Ring for _not_ being what the author enjoys most: traditional numbers-based opera with self contained tunes. Well, ok. It's certainly not that. *Shrug* But the idea that the only reason anyone sits through The Ring is because they have been convinced by Wagner or musicologists or whoever that it is "deep and meaningful" and so they don't want to appear to be uninformed is nothing more than special pleading for why everyone else is so enthralled with something the author obviously finds unappealing.


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## Woodduck (Mar 17, 2014)

KenOC said:


> Very sound advice for some people -- specifically, people who don't like the music I like!  The word "shortcomings", I believe, was invented for just such people.


So you really _do_ have no shortcomings.

I suspected as much.


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## The Conte (May 31, 2015)

Woodduck said:


> You're thinking of someone other than Van Gogh. He was just a painter, I believe, and a prolific one. Remember "Starry Night"?


No! That's just your opinion! 

(See what I did there?) :devil:

N.


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## Pugg (Aug 8, 2014)

NickFuller said:


> Thank you all for those kind comments!
> 
> Here's the latest post:
> Mercadante's _Giuramento_: https://operascribe.com/2018/02/15/53-il-giuramento-saverio-mercadante/


When can we expect the next one Nick?


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## Meyerbeer Smith (Mar 25, 2016)

Pugg said:


> When can we expect the next one Nick?


https://operascribe.com/2018/03/03/54-lelisir-damore-gaetano-donizetti/

I've spent the last fortnight moving towns, so posting will be sporadic, until I stop living out of boxes!


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## Meyerbeer Smith (Mar 25, 2016)

Magnard's Bérénice: https://operascribe.com/2018/03/04/55-berenice-alberic-magnard/


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## Meyerbeer Smith (Mar 25, 2016)

Still on a classical theme... Salieri's _Danaïdes_: https://operascribe.com/2018/03/11/56-les-danaides-antonio-salieri/


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## Meyerbeer Smith (Mar 25, 2016)

Monteverdi's _Orfeo_: https://operascribe.com/2018/03/15/57-lorfeo-claudio-monteverdi/


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## Meyerbeer Smith (Mar 25, 2016)

Offenbach's _Pierrette et Jacquot_: https://operascribe.com/2018/03/17/58-pierrette-et-jacquot-jacques-offenbach/

Light, but endearing.


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## Meyerbeer Smith (Mar 25, 2016)

Les Troyens:
https://operascribe.com/2018/03/30/59-les-troyens-hector-berlioz/

La Bohème:
https://operascribe.com/2018/03/31/60-la-boheme-giacomo-puccini/


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## Meyerbeer Smith (Mar 25, 2016)

Spontini's _Fernand Cortez_:
https://operascribe.com/2018/04/02/61-fernand-cortez-gaspare-spontini/


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## Rogerx (Apr 27, 2018)

You have a nice blog sir, well worth reading.


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## Meyerbeer Smith (Mar 25, 2016)

Rogerx said:


> You have a nice blog sir, well worth reading.


Thanks, Rogerx - and welcome!

I haven't posted much this month. I recently moved, and am still waiting for the internet to be connected to my new place.


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## Meyerbeer Smith (Mar 25, 2016)

Puccini's Turandot: https://operascribe.com/2018/06/30/66-turandot-giacomo-puccini/

Other recent ones:
Donizetti's Caterina Cornaro: https://operascribe.com/2018/06/26/65-caterina-cornaro-gaetano-donizetti/
Halévy's Reine de Chypre: https://operascribe.com/2018/06/14/64-la-reine-de-chypre-fromental-halevy/
(And more on Halévy: https://operascribe.com/2018/06/20/more-by-halevy/)
Nowowiejski's Legenda Bałtyku: https://operascribe.com/2018/05/19/63-legenda-baltyku-feliks-nowowiejski/
Spontini's Olympie: https://operascribe.com/2018/05/14/62-olympie-gaspare-spontini/

Coming soon: that great Mozart classic _Der Schauspieldirektor_!


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## DavidA (Dec 14, 2012)

NickFuller said:


> Les Troyens:
> https://operascribe.com/2018/03/30/59-les-troyens-hector-berlioz/
> 
> La Bohème:
> https://operascribe.com/2018/03/31/60-la-boheme-giacomo-puccini/


I can't say I share your recservations about Boheme as it's one of my favourite operas. True silly and sentimental in places but nothing is impossible. Tremendous score. I'd say the best version is Karajan with Pavorotti and Freni. I listened to the Beecham last night and I don't think Bjorling matches Pav for voice. I know some find Karajan's conducting slow but this is a recording. He was actually much more urgent in the theatre. But you do here the wonders of Puccini's score with the BPO supernaturally beautiful.


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## DavidA (Dec 14, 2012)

NickFuller said:


> Puccini's Turandot: https://operascribe.com/2018/06/30/66-turandot-giacomo-puccini/


Turandot is a bit of a curate's egg for me with some fabulous music mixed up with some pointless babble from the masques. There is the problem of Turandot and her seeming volte-face. But then this is opera not real life. There is the other problem visually of imagining some Turandots as the most beautiful woman ever. A tremendous suspension of disbelief is required in many cases!
I often wonder whether that is the reason that Herbert von K opted for Riciarelli as Turandot as he valued physical beauty as well as musical beauty. I believe he was beautiful the opera in the forbidden city but it never came off. Pity as his is the Best conducted version but the Princess is over-parted.


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## Meyerbeer Smith (Mar 25, 2016)

DavidA said:


> Turandot is a bit of a curate's egg for me with some fabulous music mixed up with some pointless babble from the masques. There is the problem of Turandot and her seeming volte-face. But then this is opera not real life. There is the other problem visually of imagining some Turandots as the most beautiful woman ever. A tremendous suspension of disbelief is required in many cases!
> I often wonder whether that is the reason that Herbert von K opted for Riciarelli as Turandot as he valued physical beauty as well as musical beauty. I believe he was beautiful the opera in the forbidden city but it never came off. Pity as his is the Best conducted version but the Princess is over-parted.


I rather like a game of Ping-Pong! "Fermo! Che fai? T'arresta" is fun - the three bound into the middle of the opera - and the trio at the start of Act II is beautiful, particularly this: 



. It's that mixture of tones that makes Turandot such a rich and endlessly pleasurable opera.

Ah, but what they lacked in physical beauty, they more than made up for in vocal beauty!

Yes, Ricciarelli is more of a Rossinian soprano - and doesn't have the Wagnerian heft!


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## Barbebleu (May 17, 2015)

DavidA said:


> I can't say I share your recservations about Boheme as it's one of my favourite operas. True silly and sentimental in places but nothing is impossible. Tremendous score. I'd say the best version is Karajan with Pavorotti and Freni. I listened to the Beecham last night and I don't think Bjorling matches Pav for voice. I know some find Karajan's conducting slow but this is a recording. He was actually much more urgent in the theatre. But you do here the wonders of Puccini's score with the BPO supernaturally beautiful.


My goodness DavidA. I can't believe that I heartily concur with every word of your post! Yikes! As Mr Connery might have said - Shum mishtake shurely, Mish Moneypenny!:tiphat:


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## Meyerbeer Smith (Mar 25, 2016)

Mozart's _Schauspieldirektor_: https://operascribe.com/2018/07/02/67-der-schauspieldirektor-w-a-mozart/


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## Meyerbeer Smith (Mar 25, 2016)

Cagnoni's _Re Lear_: https://operascribe.com/2018/07/07/68-re-lear-antonio-cagnoni/

King Lear - where Edgar loves Cordelia, Edmund barely exists, the dramatist has little feeling for Shakespeare, and the composer lacks imagination?

"Fie, fie, fie! pah, pah!"


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## Meyerbeer Smith (Mar 25, 2016)

A busy weekend:

Adriana Lecouvreur (Cilea)

and two by Lully:

Cadmus et Hermione
Atys

Now for Rameau!


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## Meyerbeer Smith (Mar 25, 2016)

A diptych of assassinated Swedish kings:

Auber's Gustave III: https://operascribe.com/2018/08/05/76-a-masked-ball/

Verdi's Ballo in maschera: https://operascribe.com/2018/08/09/77-vendetta-in-domino/


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