# Your most moving moments in opera..................



## Itullian (Aug 27, 2011)

What are the moments in opera that touch you and / or move you the most?

thank you


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## Posie (Aug 18, 2013)

For me, it's whenever I am alone and don't have to wear headphones. I can dance around the room and even sing along without feeling self-conscious. 

Oh! ...and the first time I saw a live production with Mozart's music. They had taken some pieces from Cosi fan tutte and set them to a modern day plot. I had an out-of-body experience! :angel:


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## schigolch (Jun 26, 2011)

The approach to opera, and to music in general, is of course different for each listener. For me, much of my pleasure comes from the "analytical" side, rather than the "emotional". However, there are some occasions I can remember as particularly emotive. Perhaps the most moving for me is the end of Poulenc's _Dialogues des Carmélites_. I have watched it several times, and listened to it many times, and it never fails to affect me.


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## Don Fatale (Aug 31, 2009)

Aaaaa-maaaaa-mi Alfredo! 
quant'io t'amo

_Love me Alfredo, as much as I love you_. From La Traviata. Possibly the most universally relevant moment in all opera.


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## Headphone Hermit (Jan 8, 2014)

the duet _'nuit d'ivresse'_ in Berlioz' _les Troyens_. Dido and Aeneas sing raputrously to each other and to the heavens .... but of course, we all know that it is doomed to be cut short by the destiny imposed on Aeneas (or chosen by him :devil and that it will end in tears (and cheers, too actually)

actually, the whole four hours of the opera move and touch me whenever I listen to it!


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## GioCar (Oct 30, 2013)

Many of them in the Ring:

Die Walkure:
- the Siegmung/Sieglinde "duet" (or, better, dialog) end of act I, 
- both the Wotan/Brunnhilde dialogs act II and act III (these, imo, are among the most moving examples of a father/daughter relationship...)
- Siegmund/Brunnhilde act II
Actually the whole act II touches me deeply...

Siegfried:
- Siegfried/Brunnhilde act III

Gotterdammerung:
- the whole act III


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## GioCar (Oct 30, 2013)

Alexander said:


> Aaaaa-maaaaa-mi Alfredo!
> quant'io t'amo
> 
> _Love me Alfredo, as much as I love you_. From La Traviata. Possibly the most universally relevant moment in all opera.


the "amami Alfredo" from this recording is VERY moving, imo


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## Itullian (Aug 27, 2011)

"Man and wife" duet from the Magic Flute.
so touching.


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## Itullian (Aug 27, 2011)

The Wotan, Brunhilde farewell from Walkure Act 3


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## elgar's ghost (Aug 8, 2010)

Butterfly's self-sacrifice despite Pinkerton's swinish desertion. I wouldn't have blamed her if she'd have shot him.


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## mamascarlatti (Sep 23, 2009)

The Brünnhilde / Siegmund duet in Act 2 of Walküre gets me every time. So many things going on, both characters undergoing something of a transformation - Siegmund realises that nothing else can stand up beside his love for Sieglinde, and the rather emotionally immature Brünnhilde struck by the true power of pure love..

I don't feel the same about the Wotan/Brünnhilde farewell because I'm always thinking: _Wotan, if you just get off your high horse about always having to be the big boss, you could just say, "forgeddaboutit, go home Loge, let's go and scoop up some warriors, no hard feelings darling."_


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## hpowders (Dec 23, 2013)

After Peter's mad scene when Captain Balstrode tells Peter to sail out 'til he loses sight of land and sink the boat and that simple "Good-bye, Peter."
Peter Grimes, Benjamin Britten.


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## Sonata (Aug 7, 2010)

First and foremost: The scene in Suor Angelica when she learns her child is deceased. Senza Mama is so beautiful and touching.

Rusalka: Song to the Moon
Pinkerton's singing of his regret when he realizes how much Butterfly loved and counted on him (not so much for HIS emotions, but the singing in that moment is very poignant)
Lieu's death scene in Turandot.

Mozart is my favorite opera composer, but I wouldn't say I'm "Moved" by the plots so much as just adore the sublime music. And that's no knock on his operas, or the other operas I listen to, they just operate differently for me.


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## Revenant (Aug 27, 2013)

elgars ghost said:


> Butterfly's self-sacrifice despite Pinkerton's swinish desertion. I wouldn't have blamed her if she'd have shot him.


Then, I take it, you don't mind Don Jose stabbing Carmen?


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## Bardamu (Dec 12, 2011)

The final part of the short third act of Iris where Iris ask why she need to suffer and die for other egotism.
Taking it analytically, Iris story is silly with no likable character (even the little Iris) also Illica sentences (illicasillabi!) are often goofy ("ordigno fatto per la voluttà") yet this Opera has the rare gift to touch the soul through the music, the singing and the words beyond their mere meaning.


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## elgar's ghost (Aug 8, 2010)

Revenant said:


> Then, I take it, you don't mind Don Jose stabbing Carmen?


Good response. I did say shoot, not kill, but the second sentence of my post was less than heartfelt anyway.

My answer would be that it was wrong to knife Carmen, as DJ was just a bored squaddie with an immature infatuation and she was a stroppy Miss Yo-Yo Knickers who discarded men at will so he really should have pulled himself together and strove for that third chevron instead of trading blows with his CO and then following Carmen like a simpering poodle to the mountains. Had he cooled off DJ could then have got it on with one of the less feral ciggie girls or simply stayed at home to look after his sister.


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## TxllxT (Mar 2, 2011)

The bass aria from Tchaikovsky's Yevgeni Onegin


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## Revenant (Aug 27, 2013)

elgars ghost said:


> Good response. I did say shoot, not kill, but the second sentence of my post was less than heartfelt anyway.
> 
> My answer would be that it was wrong to knife Carmen, as DJ was just a bored squaddie with an immature infatuation and she was a stroppy Miss Yo-Yo Knickers who discarded men at will so he really should have pulled himself together and strove for that third chevron instead of trading blows with his CO and then following Carmen like a simpering poodle to the mountains. Had he cooled off DJ could then have got it on with one of the less feral ciggie girls or simply stayed at home to look after his sister.


Ah, great post. Kerouac redivivus in Britannia est! DJ was a gone gone daddy, man!


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## Bellinilover (Jul 24, 2013)

Ones that come to my mind at the moment:

--The "Piango, perche mi parla" duet in SIMON BOCCANEGRA

-- The "A voi tutti...tutti contro a me" middle section of "Cortigiani" in RIGOLETTO (Rigoletto realizing that the courtiers are all united against him).

-- The Recognition Scene in ELEKTRA

-- The phrase in "Look through the port" (BILLY BUDD) that goes, "But Donald has promised to stand by the plank..."

-- The part in the Act II Mad Scene in I PURITANI when Elvira notices Riccardo crying.

-- Miller realizing that Luisa is planning to commit suicide in LUISA MILLER (especially as sung/acted by Sherrill Milnes and Renata Scotto on the Met DVD)


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## DaDirkNL (Aug 26, 2013)

In Figaro when the count asks for forgiveness of his wife, and then after that the scene just gets turned around.
The commendatore scene in DG, and countless moments in Cosi fan tutte.


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## mamascarlatti (Sep 23, 2009)

elgars ghost said:


> ...or simply stayed at home to look after his sister.


When did DJ acquire a sister?


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## Blancrocher (Jul 6, 2013)

"La tua bella Euridice..."






Can't hear this in public.

*p.s.* In fact, I can barely hear it in private--devastating!


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## MAuer (Feb 6, 2011)

Violetta writing that letter to Alfredo after Papa Germont has extracted that promise from her to give him up forever. Gets me every time.


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## elgar's ghost (Aug 8, 2010)

mamascarlatti said:


> When did DJ acquire a sister?


Oops - mother. I really should start proofreading my posts before it gets really embarrassing.


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## Bellinilover (Jul 24, 2013)

Two more:

-- "Ah, non credea mirarti" from LA SONNAMBULA

-- The orchestral introduction to the scene of Posa's death in DON CARLO (in the five-act Italian version, it's everything before Posa enters and sings, "Son io, mio Carlo").


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## moody (Nov 5, 2011)

mamascarlatti said:


> When did DJ acquire a sister?


It's one of those updated versions.


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## moody (Nov 5, 2011)

The Act Three Trio from Verdi's "I Lombardi". Giselda is searching the battlefield for Oronte and eventually finds him mortally wounded and they duet together. Then a Hermit arrives (don't they always !), he tells Oronte to repent of course but he dies anyway. Extraordinarily Verdi inserts a mini violin concerto into all of this,but in any case it's all very poignant.
I like the 1943 Toscanini version with Vivian Della Chiesa ,Jan Peerce and Nicola Moscona.


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## DavidA (Dec 14, 2012)

Figaro end when Mozart resolves the whole thing with a few chords.

Fidelio when Leonore unlocks hubby's chains.

Butterfly when she says farewell to her son and sticks the knife in.


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## Itullian (Aug 27, 2011)

Quintet, Act 3, Meistersinger


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## Oreb (Aug 8, 2013)

Definitely the quintet. Also:

*Parsifal *baptising Kundry,

*Otello*'s 'un bacio ancora'

*Peter Grimes*' moment of introspective mysticism - 'Who can turn skies back and begin again?'


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## mamascarlatti (Sep 23, 2009)

The scene in _Il Ritorno D'Ulisse in Patria_ when Telemaco realises that his father has returned and they embrace each other. Such a tender moment.


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## SteveSherman (Jan 9, 2014)

Desdemona's prayer from Otello.

The Prisoner's Chorus from Fidelio.

Iolanthe revealing herself to the Lord Chancellor.


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## Seattleoperafan (Mar 24, 2013)

The bit after the 3 riddles when Turandot realizes she must surrender to her man and begs her father to let her off. Of course, if it were me and Corelli was my Calaf, I'd be contemplating a public deflowerment so I wouldn't have to wait;-)
The ring bits mentioned by others.
"Remember me. Remember me"
Recognition scene Elektra
"Senza mama" Suor Angelica
"Son io" Norma


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## Dongiovanni (Jul 30, 2012)

MAuer said:


> Violetta writing that letter to Alfredo after Papa Germont has extracted that promise from her to give him up forever. Gets me every time.


Yes, when the clarinet starts with that sad melody, Violetta starts writing.

So many moments in Traviata... Of course "Amami Aldredo"...

When Violetta reads Giorgio's letter, with the love theme repeated on a single violin, following with "Addio del passato"

Also in the finale when Violetta starts with "Prendi quest'e' l'immagine" then she continues "Le porgi questa effigie
Dille che dono ell'e' - Di chi nel ciel tra gli angeli". The transition to "Di chi" and especially the high note on "angeli" is a real tearjerker.


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## Romantiker (Feb 23, 2014)

Being a bel canto person at heart, it surprises me that "Un di all'azzurro spazio" from Giordano's _Andrea Chenier_ can reduce me to tears--especially if it's a Mario de Monaco recording. When He gets to "T'amo tu che mi baci" and later "amor, divino dono," the music and his singing shake my heart. When I need an emotional release , I watch his videos of this aria and have myself a good blubber-fest.


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## Bellinilover (Jul 24, 2013)

Romantiker said:


> Being a bel canto person at heart, it surprises me that "Un di all'azzurro spazio" from Giordano's _Andrea Chenier_ can reduce me to tears--especially if it's a Mario de Monaco recording. When He gets to "T'amo tu che mi baci" and later "amor, divino dono," the music and his singing shake my heart. When I need an emotional release , I watch his videos of this aria and have myself a good blubber-fest.


From the same opera I'm very moved by Gerard's "Nemico della patria," especially the last section with that part about "embracing all mankind." It's one of my favorite baritone arias. And yes, I'm basically a bel canto person as well.


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## Revenant (Aug 27, 2013)

Bellinilover said:


> From the same opera I'm very moved by Gerard's "Nemico della patria," especially the last section with that part about "embracing all mankind." It's one of my favorite baritone arias. And yes, I'm basically a bel canto person as well.


I have the video of an RAI tv production in which Taddei sings this. I like to watch his face as he sings it. Performance arc. The final del Monaco-Stella duet "in the shadow of the guillotine" is also very moving.


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## Yashin (Jul 22, 2011)

Revenant said:


> I have the video of an RAI tv production in which Taddei sings this. I like to watch his face as he sings it. Performance arc. The final del Monaco-Stella duet "in the shadow of the guillotine" is also very moving.


Or Cappuccilli singing it


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## Bellinilover (Jul 24, 2013)

Regarding "Nemico della patria": I think the thing I find so moving about it is that it shows a man, Carlo Gerard, who has gotten off track and has failed to live up to his own original, admirable ideals. This is a type of situation I find tragic.


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## Revenant (Aug 27, 2013)

Bellinilover said:


> Regarding "Nemico della patria": I think the thing I find so moving about it is that it shows a man, Carlo Gerard, who has gotten off track and has failed to live up to his own original, admirable ideals. This is a type of situation I find tragic.


Precisely, a tragic figure. "I have [merely] switched masters..." _Ho mutato padrone_.


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## Gizmo (Mar 28, 2013)

There are many scenes that move me. Here are a few of my favorites:

Madama Butterfly - Ah! m'ha scordata? E questo? E questo?....Che Tua Madre Dovra

Gotterdammerung - Immolation

Gotterdammerung - Siegfried's Funeral March


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## PeteW (Dec 20, 2014)

Revenant said:


> I have the video of an RAI tv production in which Taddei sings this. I like to watch his face as he sings it. Performance arc. The final del Monaco-Stella duet "in the shadow of the guillotine" is also very moving.


Is that the duet Vicino a Te? When they are summoned from their cell to the guillotine with the percussion and the brass...spine-tingling. Really like this performance: 








Gets me every time.


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## perempe (Feb 27, 2014)

I saw Die Fledermaus yesterday. does it count?


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## Woodduck (Mar 17, 2014)

perempe said:


> I saw Die Fledermaus yesterday. does it count?


The tempi must have been very fast.


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## nina foresti (Mar 11, 2014)

Top 10:
The final scene of "Dialogues des Carmelites"
The Prologue of "Mefistofele"
The Vorspiel from "Parsifal
Io Morro from "Don Carlo"
The theme from "Romeo et Juliette"
Kuda, kuda from "Eugene Onegin
Gremin's aria from "Eugene Onegin"
Te Deum from "Tosca"
Nium mi tema from "Otello"
Ah m'ha scordata from "Butterfly"

Maybe not "touched me" but absolutely "wowed" me:
The Poker scene from "La fanciulla del west"


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## SixFootScowl (Oct 17, 2011)

The duet where Florestan and Leonore are reunited after she intervenes in the attemped murder of Florestan by the governor.

The finale of La Cenerentola where Angelina (Cinderella) rejoices in her new found position as she is wed to the prince and forgives the evil stepfather and stepsisters.


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## hpowders (Dec 23, 2013)

Near the end of Peter Grimes after his mad scene when Balstrode tells Peter to take his boat out to sea and sink her. After it happens, the next morning, the people of the Borough go about their business as if nothing happened. One states that the coast guard reported a sinking ship out at sea. Nobody cares. Life goes on.


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## Woodduck (Mar 17, 2014)

*Wagner:*

The deep bass E-flat that begins _Der Ring des Nibelungen_. The world being born again. I shiver, knowing what's coming.

Wotan's farewell to Brunnhilde. Siegfried listening to the forest murmur and the birds sing. Siegfried's death and funeral music. Brunnhilde's immolation and the end of the world. [Cue _Das Rheingold_]

Tristan und Isolde: Prelude. "O Sink Hernieder, Nacht der Liebe" and Brangaene's warning from the tower. All of Act 3.

Meistersinger: Prelude to Act 3. Quintet.

Parsifal: Nearly all of it, but especially the Prelude, the Act 1 transformation music, Amfortas' "Wehe! Wehe mir der Qual!", Prelude to Act 3, Parsifal kneeling before the spear and Gurnemanz recognizing him, Gurnemanz's "O Gnade! Hoechstes Heil!", Good Friday Spell, transformation music, the healing of Amfortas, the uncovering of the Grail, "Hoechsten heiles Wunder! Erloesung dem Erloeser!"

*Verdi:*

Rigoletto pleading with the courtiers.

Otello's monologue "Dio mi potevi," Willow Song and Ave Maria, death of Otello.


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## Speranza (Nov 22, 2014)

Off the top of my head these make me consistently well up.

Liebestod
The end of the ring cycle
Mir ist die Ehre widerfahren from Rosenkavalier specifically the bit where Sophie goes really high.
E lucevan le stelle from Tosca
The ending stage of Che gelida manina fom La Boheme

I don't remember all the things that made me emotional mostly I just remember that sort of deep sometimes sad but often happy feeling, happy that I could be watching something so beautiful. I seem to be more capable of being moved the more opera I watch.


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## Pugg (Aug 8, 2014)

La Travita last act when Violetta realizes that even Alfredo's love can't rescue her from dead and screams...Gran Dio! morir sì giovini etc


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## nina foresti (Mar 11, 2014)

Seattleoperafan said:


> "Son io" Norma


Did you really mean "Norma" or did you mean "Andrea Chenier?"
If you meant Norma, could you please direct me to where that line is uttered?


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## Bas (Jul 24, 2012)

Hai sbagliato il raffronto.
Volevi dir: bella come un tramonto.
"Mi chiamano Mimì,
il perché non so...".

When Mimi says: You should have compared me to sunset instead of sunrise, then repeats the words she said when she and Rodolfo first met: "They call me Mimi, I don't know why." Incredibly moving.


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## Bellinilover (Jul 24, 2013)

nina foresti said:


> Did you really mean "Norma" or did you mean "Andrea Chenier?"
> If you meant Norma, could you please direct me to where that line is uttered?


I'm pretty sure he means the moment in NORMA's final scene when Norma admits that she is actually the guilty one.


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## MAuer (Feb 6, 2011)

I just checked the libretto that came with my recording of _Norma_, and "Son io" is in there, all right, shortly after Norma has directed that the funeral pyre be erected for the priestess who has broken her vows.


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## sospiro (Apr 3, 2010)

In _Simon Boccanegra_ at the end of the 'recognition scene', Amelia/Maria exits the stage and Simon gazes after her and softly sings one word - "figlia".


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## silentio (Nov 10, 2014)

Most of the "moments" I find the most moving don't come as arias but rather short phrases.

*Madame Butterfly*, when Cio-cio-san confronts Kate Pinkerton: _"Sotto il gran ponte del cielo non v'è donna di voi più felice. Siatelo sempre, non v'attristate per me..."_ _("Under the great arches of heaven there is no woman happier than you. Always be happy, and don't feel sad for me")_. The ultimate self-sacrifice! This line is probably the most devastating moment in the whole melodrama. ONLY Callas breathes life into it. (Starting at *5:33* 



)

*La gioconda*. Full of moving moments.

The _"Angel Dei"_ (



)

The re-entrance of Gioconda in act 3,_ "O mother, on that fateful island, because of you I controlled the deathly urge of spurned rivalry. Now more terrible is my sacrifice...I saved her *for him*...*for him* who loves her!"_. (



). Listen to how Callas swallows the bitterness of the character and utters the words _per lui_! Omg, what drama!

Anything after the _"Suicidio!"_ till the death of Gioconda gets me everytime.

*Le nozze di Figaro*. The very last scene, when the Countess forgives the Count _"Più docile sono, e dico di sì."_ (



)

*Der Rosenkavalier* Of course the final trio is superb moving, but there is also a quiet, precise phrase in the Marschallin's monologue _"At times I get up in the middle of the night and stop all the clock"_.

*Turandot*, when Liu counters Turandot. (



). Turandot asks "Who gave your heart such strength?" , and Liu answers _"Principessa, l'amoooooooooore!"_. The pianissimo of Schwarzkopf here is simply divine.

*I Pagliacci*. The interlude. In the film with Domingo and Stratas, I almost cry everytime when Stratas stares at herself in the mirror before making up for the show. (



)


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## hpowders (Dec 23, 2013)

sospiro said:


> In _Simon Boccanegra_ at the end of the 'recognition scene', Amelia/Maria exits the stage and Simon gazes after her and softly sings one word - "figlia".


I realize I am in the minority but Simon Boccanegra is one of my favorite Verdi operas.


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## mamascarlatti (Sep 23, 2009)

nina foresti said:


> Top 10:
> The final scene of "Dialogues des Carmelites"
> The Prologue of "Mefistofele"
> The Vorspiel from "Parsifal
> ...


Love your list :clap:. I always look forward to the poker scene!


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## Loge (Oct 30, 2014)

Coraggio!

Mimi........Mimi........!


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## Sloe (May 9, 2014)

The end of Anna Bolena
The death of Gennaro in Lucrezia Borgia
The end of Die Meistersinger von Nürnberg
The death of Siegfried and funeral march in Götterdämmerung
The end of Cavalleria Rusticana
The scene leading to the death of Liu in Turandot

Overall I think Donizetti is underrated for creating moving moments in opera and Puccini is overrated.


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## Tsaraslondon (Nov 7, 2013)

silentio said:


> Most of the "moments" I find the most moving don't come as arias but rather short phrases.
> 
> *Madame Butterfly*, when Cio-cio-san confronts Kate Pinkerton: _"Sotto il gran ponte del cielo non v'è donna di voi più felice. Siatelo sempre, non v'attristate per me..."_ _("Under the great arches of heaven there is no woman happier than you. Always be happy, and don't feel sad for me")_. The ultimate self-sacrifice! This line is probably the most devastating moment in the whole melodrama. ONLY Callas breathes life into it. (Starting at *5:33*
> 
> ...


Love this list - and the clips chosen (though Schwarzkopf in the Figaro excerpt would get my vote here).


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## wagner4evr (Jul 10, 2010)

Oh my...so many

Probably my gold and silver would go to the finale of Parsifal, and Tristan's Act 2 love duet.


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## QuietGuy (Mar 1, 2014)

Previn's "Sea Air" from A Streetcar Named Desire is very touching
Copland's "Laurie's Song" from The Tender Land is one of the best melodies he ever wrote.
Menotti's "Steal Me Sweet Thief" from The Old Maid and The Thief (sung by Dawn Upshaw)
Floyd's "Ain't It a Pretty Night" from Susannah

and I only recently discovered Puccini's "Nessun Dorma" from Turandot for myself. Nice!


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## PeteW (Dec 20, 2014)

Pagliacci - "Recitar!" - "Vesti la giubba", as performed by Pavarotti. 

Marvellous, so much emotion in it.


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## Robin Isik (Jan 13, 2015)

Hearing Anna Netrebko sing O mio babbino caro


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## Bruce (Jan 2, 2013)

Deleted post duplicate.


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## Bruce (Jan 2, 2013)

There are three moments which always grab my heartstrings: 

Au fond du temple saint from Bizet's Pearl Fishers.

The last 20 minutes or so from Tannhäuser, 

and the same from Strauß's Salome.


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## DavidA (Dec 14, 2012)

When the count and countess are reconciled at the end of Figaro. Mozart foe sit with a single musical resolution! Genius!


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## perempe (Feb 27, 2014)

Robert Dean Smith singing "Inbrust im Herzen". I saw 3 of 4 performances of Tannhäuser in November and December.


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## brotagonist (Jul 11, 2013)




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## Bellinilover (Jul 24, 2013)

The passage in _Salome_ where Jokanaan tells Salome to go find Jesus "in a boat on the sea of Galilee" and ask forgiveness for her sins. I'm a Christian and I found this part extremely moving when I saw my first _Salome_ a couple of weeks ago. The orchestration and the vocal writing are just overwhelming.


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## pierrot (Mar 26, 2012)

6:30 onwards.


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## Don Fatale (Aug 31, 2009)

As this thread has popped up again, I'll add another.

Mefistofele. Finale of Act III.

Margherita's already done her famous L'altra Notte in Fondo al Mare, which is moving in itself. In the finale section where's she's dying (with big big soprano notes obviously), Mefistofele says she's condemned to hell, Margherita speaks the words "Enrico, I despise you", and at the last moment the heavenly chorus declares that she's been saved. Even a godless person like me has to cheer that!

Link with start time:


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## Bellinilover (Jul 24, 2013)

The "Adina, credimi" section in Donizetti's _L'elisir d'amore_.


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## Loge (Oct 30, 2014)

Just having seen it, Puccini, Suor Angelica - Senza mamma


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## Autumn Leaves (Jan 3, 2014)

Alright, I know I've bored everyone half to death with my constant praise of Scenes 2 and 4 of Rheingold, but it still remains the same – the "ein Weib zu gewinnen" part makes me break into tears each and every time. 

Practically every dying scene in Verdi. 

Chorebe and Cassandra's duet in Les Troyens. 

The Holy Fool's (I'm not sure how to translate Yurodivy) final lines from Boris Godunov. 

The whole second act of The Lefthander. 

Of the less tragical sort:

Iolanta – Vaudemont and Iolanta's duet about light; the part in the end where Robert says he'll always be true to Matilda. 
The Snow Maiden – the song of the blind gusli players. 
Technically it's not opera, but still: the scene from Die Entführung aus dem Serail where Pasha Selim sets the lovers free.


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## Meyerbeer Smith (Mar 25, 2016)

The final ensemble in _Fidelio_
"Tu, è ver, m'assolvi, Augusto" (_Clemenza di Tito_)
"Des cendres de ton coeur" (_Contes d'Hoffmann)_
The Marcel/Valentine duet; the Act IV love duet; the final trio in _Huguenots_
The blind grandmother in _Roma_
Various scenes of Wagner and Massenet


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## kartikeys (Mar 16, 2013)

I seem to enjoy it more when I am alone, and can 
play and watch loudly.

I have not made notes of what I have enjoyed most. 
Must change.


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## znapschatz (Feb 28, 2016)

elgars ghost said:


> Butterfly's self-sacrifice despite Pinkerton's swinish desertion. I wouldn't have blamed her if she'd have shot him.


she should have. It would have made a better opera.


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## znapschatz (Feb 28, 2016)

Way, wei too many! Death of Boris, Marfa's aria of love and despair (Khovanschina), Wotan's farewell to Brunhild, her immolation, Addio senza rancor, finale of Dialogue of the Carmelites, and here I must tie this off before I spend the next half hour dredging up more of these operatic moments. 

Oddly enough, in the final act of BG, it's not Yurodivy's plaintive wail that gets me, but the entrance of the pretender Dimitri into the scene. It's a "triumphal" moment, but its implication, the perpetual suffering of the Russian people, has always moved me. Many years ago I was in a laundromat waiting for my clothes to dry and watching a CBS Opera Workshop TV production of Boris. During that scene, I became aware of what seemed like one of the washing machines making sounds I thought was a load out of balance. It took me several seconds to realize the sound was me, sobbing.


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## BalalaikaBoy (Sep 25, 2014)

Liu's death scene. no contest


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## jflatter (Mar 31, 2010)

Die Walkure-the end of act 3
Otello-Dio mi potevi (most haunting part of the opera)
Der Rosenkavalier-Trio
Don Carlo-final duet between Carlos and Elisabetta
Parsifal-Gurnemanz anointing Parsifal as King
King Roger-Opening scene


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## Pugg (Aug 8, 2014)

BalalaikaBoy said:


> Liu's death scene. no contest


That's debatable


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## Sloe (May 9, 2014)

Pugg said:


> That's debatable


At least the most moving moment of a Puccini opera.


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## Woodduck (Mar 17, 2014)

Sloe said:


> At least the most moving moment of a Puccini opera.


It moves me to anger and disgust. For some real verismo, Calaf should have grabbed Turandot by the throat, strangled the last fortissimo high C out of her, and thrown her corpse on top of Liu's, accompanied by cries of victory and freedom from the crowd. _La commedia e finita!_

Alfano and Berio, move over.


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## Pugg (Aug 8, 2014)

The last note being played of any opera and the curtain falls.
Always a moving moment, sometimes a relieve


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## Sloe (May 9, 2014)

Woodduck said:


> It moves me to anger and disgust. For some real verismo, Calaf should have grabbed Turandot by the throat, strangled the last fortissimo high C out of her, and thrown her corpse on top of Liu's, accompanied by cries of victory and freedom from the crowd. _La commedia e finita!_
> 
> Alfano and Berio, move over.


Hahaha

To see poor Turandot being strangled would probably be even more sad. I become sad even thinking of it.


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## Diminuendo (May 5, 2015)

Woodduck said:


> It moves me to anger and disgust. For some real verismo, Calaf should have grabbed Turandot by the throat, strangled the last fortissimo high C out of her, and thrown her corpse on top of Liu's, accompanied by cries of victory and freedom from the crowd. _La commedia e finita!_
> 
> Alfano and Berio, move over.


Or maybe Liu just had enough and killed both Turandot and Calaf. There is a limit of what even a slave can take. Or maybe Calaf just left even before the riddles and decided that Turandot wasn't worth the effort.


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## Itullian (Aug 27, 2011)

Siegfried's Funeral March
Tristan Liebestod
Magic Fire/Wotan Farewell


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## DavidA (Dec 14, 2012)

The moment when Leonora takes off Florestan's chains!


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## BalalaikaBoy (Sep 25, 2014)

Woodduck said:


> It moves me to anger and disgust. For some real verismo, Calaf should have grabbed Turandot by the throat, strangled the last fortissimo high C out of her, and thrown her corpse on top of Liu's, accompanied by cries of victory and freedom from the crowd. _La commedia e finita!_
> Alfano and Berio, move over.


EXACTLY!!!
#KeepinItVerismo


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## DavidA (Dec 14, 2012)

Woodduck said:


> It moves me to anger and disgust. For some real verismo, Calaf should have grabbed Turandot by the throat, strangled the last fortissimo high C out of her, and thrown her corpse on top of Liu's, accompanied by cries of victory and freedom from the crowd. _La commedia e finita!_
> 
> Alfano and Berio, move over.


Agreed! But I must say I am just as angry with Wotan for punishing his daughter for doing what he told her to do in the first place. he gets himself into a tangle and then blames his daughter. I think: "Fine father you are, you creep!"


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## znapschatz (Feb 28, 2016)

Woodduck said:


> It moves me to anger and disgust. For some real verismo, Calaf should have grabbed Turandot by the throat, strangled the last fortissimo high C out of her, and thrown her corpse on top of Liu's, accompanied by cries of victory and freedom from the crowd. _La commedia e finita!_
> 
> Alfano and Berio, move over.


And could have, had it not been for Alfano tacking on that sappy finale. I have always considered Calaf a yutz for going gonzo for Turandot based on her mere appearance. Consider the trouble he caused. Maybe she was a shopaholic, or had other annoying character traits that will weigh on him after the flush of hormones wears off. Feh! Nice music, though.


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## Woodduck (Mar 17, 2014)

znapschatz said:


> And could have, had it not been for Alfano tacking on that sappy finale. I have always considered Calaf a yutz for going gonzo for Turandot based on her mere appearance. Consider the trouble he caused. Maybe she was a shopaholic, or had other annoying character traits that will weigh on him after the flush of hormones wears off. Feh! Nice music, though.


If it's sappy, it wasn't Alfano's fault. The libretto was there, and he had the difficult assignment of setting it to music. I think he did rather well.


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## znapschatz (Feb 28, 2016)

Woodduck said:


> If it's sappy, it wasn't Alfano's fault. The libretto was there, and he had the difficult assignment of setting it to music. I think he did rather well.


*Nanette less, I greatly respect Toscanini's gesture in laying down his baton after the death of Liu, saying "This was where the maestro lay down his pen." Frankly, even if it were not Alfano's fault, I find the finale hard to take.

*I just had to leave the autocorrect version of _nonetheless_. :lol:


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## Woodduck (Mar 17, 2014)

Glad you did. Nanette is a charming girl. She's always welcome around here.


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## arnerich (Aug 19, 2016)

The most moving opera moment for me is the end of Eugene Onegin. Tatyana admits her love for Eugene, but it's too late. He squandered his chance and she leaves him. I've listened to my fair share of opera and for me its the greatest.


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## sospiro (Apr 3, 2010)

arnerich said:


> The most moving opera moment for me is the end of Eugene Onegin. Tatyana admits her love for Eugene, but it's too late. He squandered his chance and she leaves him. I've listened to my fair share of opera and for me its the greatest.


It's a wonderful ending and Eugene Onegin is a wonderful story which we can all understand.


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## Scarr (Jun 3, 2014)

hpowders said:


> After Peter's mad scene when Captain Balstrode tells Peter to sail out 'til he loses sight of land and sink the boat and that simple "Good-bye, Peter."
> Peter Grimes, Benjamin Britten.


Yes. That's it. Jon Vickers with Davis or Langridge. Very, very moving. Also Otello taking his life and Butterfly waiting for the Cad.


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## Azol (Jan 25, 2015)

When Minnie begs the miners to forgive Johnson and the final scene (La fanciulla del West)
La Boheme finale
'Senza Mamma' (Suor Angelica)
'Sola, perduta, abbandonata' (Manon Lescaut)
'Vissi d'arte' as performed by Maria Callas (Tosca)

Damn, Puccini surely had the ability to move our hearts with music!

Liebestod (Tristan und Isolde)
Scene when Parsifal baptizes Kundry (Parsifal)
Wotans Abschied and Immolation Scene (Ring)

'Giusto ciel' as performed by Beverly Sills (L'assedio di Corinto)
'Deh! Tu di un umile preghiera' as performed by Beverly Sills (Maria Stuarda)


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## Buoso (Aug 10, 2016)

I am going to include one from Madame Butterfly and ironically the one I find the most moving despite the absence of Butterfly for its entirety. That moment is the trio with Sharpless Pinkerton and Suzuki in act 3 that begins "Io so che alle sue pene" and which never fails to have my hairs stand on end the very end of the trio is the moment where we are fully shown how much of a coward Pinkerton is with his words to Sharpless of waiting outside rather than meet face to face with the soul he has crushed.


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## Pugg (Aug 8, 2014)

Azol said:


> When Minnie begs the miners to forgive Johnson and the final scene (La fanciulla del West)
> La Boheme finale
> 'Senza Mamma' (Suor Angelica)
> 'Sola, perduta, abbandonata' (Manon Lescaut)
> ...


Hallelujah, I knew I am not the only one liking this .


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## Azol (Jan 25, 2015)

Pugg said:


> Hallelujah, I knew I am not the only one liking this .


Have you also heard the _live_ version of L'assedio di Corinto with Sills? She takes great risks while performing 'Giusto ciel' and the result is breathtaking. I prefer it to the studio version by a slight margin.


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## Pugg (Aug 8, 2014)

Azol said:


> Have you also heard the _live_ version of L'assedio di Corinto with Sills? She takes great risks while performing 'Giusto ciel' and the result is breathtaking. I prefer it to the studio version by a slight margin.


I do have one "live" with Horne , I prefer the studio also.
I must admit Caballé, on here Rossini disc is also breathtaking.


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## Sloe (May 9, 2014)

Azol said:


> When Minnie begs the miners to forgive Johnson and the final scene (La fanciulla del West)
> La Boheme finale
> 'Senza Mamma' (Suor Angelica)
> 'Sola, perduta, abbandonata' (Manon Lescaut)
> ...


I agree with the La Boheme final and would add Liu´s death in Turandot the other ones not so much but I think Verdi was better at making moving moments.
It is nearly like every Verdi opera have at least one moment that is as moving as the La Boheme final.
I moment that moves me a lot is when Aida pleads to the Pharaoh after her father have been captured.
The final in Rigoletto too.


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## Sloe (May 9, 2014)

I find it very moving when Elektra sings about how her father was murdered.


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## Pugg (Aug 8, 2014)

Eliabeth / Don Carlo's duet toward the end from Don Carlo


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## Sloe (May 9, 2014)

Pugg said:


> Eliabeth / Don Carlo's duet toward the end from Don Carlo


How opera always should be.


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## Pugg (Aug 8, 2014)

Sloe said:


> How opera always should be.


Or a woman going crazy......


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## SixFootScowl (Oct 17, 2011)

Among others:

Fidelio: Leonore and Florestan's duet after Pizarro is thwarted in his attempt to stab them both to death.

Gotterdammerung: Brunnhilde riding her horse into Siegfried's funeral pyre.

La Cenerentola: Angelina forgiving her family: "My vengeance will be to forgive them."

La Sonnambula: Amina's joyful aria after Elvino is finally convinced that she has not been unfaithful.

Der fliegende Hollander: Senta's final song of dedication before jumping into the ocean.

Maria Stuarda: Maria's final song as she willingly walks to the chopping block to be beheaded.


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## ma7730 (Jun 8, 2015)

_Lohengrin_: "Leb wohl! Leb wohl! Leb wohl mein süsses Weib!"
_Lulu_: "Lulu! Mein Engel!", and the way the music just stops..
_Parsifal_: The moment building up to Kundry and Parsifal's kiss in the second act. They both believe the other can help them come to know themselves, and yet, in that moment it's impossible...
_Otello_: "Dio mi potevi scalgiar!", as many have mentioned
_Die Frau ohne Schatten_: "Vater, dir drohet michs". That final chorus always gets me. It really feels like such a genuine moment of understanding.
_Falstaff_ "Va, va vecchio John". As funny as Falstaff is, there's always been a tragic quality to it for me. The strange way Falstaff seems aware of his position but not aware enough to realize the ladies are playing tricks on him has always stricken me as one of the most truthful things in any opera.
_Tristan und Isolde_ As previously discussed, that sad shepherd's melody and the way it weaves itself through all of Tristan's delirium.


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## Pugg (Aug 8, 2014)

One stands above all: Violeta dying in La Traviata.


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## Sloe (May 9, 2014)

Pugg said:


> One stands above all: Violeta dying in La Traviata.


For Verdi I honestly think Gildas death in Rigoletto is more moving. There is an immense sadness over the whole opera.


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## Pugg (Aug 8, 2014)

Sloe said:


> For Verdi I honestly think Gildas death in Rigoletto is more moving. There is an immense sadness over the whole opera.


Gilda is murdered whilst Violetta still hopes she will recover by Alfredo's arriving, then she has a moment of light and dies.
I am crying ( almost)


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## Sloe (May 9, 2014)

Pugg said:


> Gilda is murdered whilst Violetta still hopes she will recover by Alfredo's arriving, then she has a moment of light and dies.
> I am crying ( almost)


But Rigoletto sees his only child die right I front of him. It makes me cry.


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## Pugg (Aug 8, 2014)

Sloe said:


> But Rigoletto sees his only child die right I front of him. It makes me cry.


Okay, want a hanky?

Anyway, Butterfly taking her own life as sacrifice


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## Woodduck (Mar 17, 2014)

I'm affected less by death and loss than by transformations of the mind and spirit. Nothing in opera moves me more deeply than the moment - just after Gurnemanz has explained how nature is redeemed on Good Friday, watered by tears of repentance - when Parsifal, contemplating the flowering meadow and remembering how Kundry's eyes mocked him in Klingsor's flowery garden and how her deadly kiss threatened to destroy him, now sees her eyes wet with tears, kisses her on the forehead, and sings that the meadows are smiling. What a wonderful transformation, what beautiful symbolism, and what sublime music, overflowing with sadness, sweetness, and compassion.

And then the funeral rites of Titurel, terrible in their darkness and pain, take us down into the depths again before the final transformation. No wonder Mahler was so shaken: "I can hardly describe my present state to you. When I came out of the Festspielhaus, completely spellbound, I understood that the greatest and most painful revelation had just been made to me, and that I would carry it unspoiled for the rest of my life." And Reger: "When I first heard _Parsifal_ at Bayreuth I was fifteen. I cried for two weeks and then became a musician."


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## Pugg (Aug 8, 2014)

Each his own Wood. :angel:


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## Sloe (May 9, 2014)

Pugg said:


> Anyway, Butterfly taking her own life as sacrifice


I am more moved by Liu´s suicide and Mimi´s death.


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## Pugg (Aug 8, 2014)

Sloe said:


> I am more moved by Liu´s suicide and Mimi´s death.


Agree , also very moving moment.


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## Schumanniac (Dec 11, 2016)

Two really.

*Vesti la giubba, from Pagliacci:* Something about that personal hurt, yet having to put on that all too tight, painful mask we all must wear sometimes just resonate. Theres just this deep despair, when well sung, that gets too me. Dont like opera much, more single arias, but Pagliacci gets to me every time and this is the heart of it.

*E lucevan le stelle, from 'Tosca':* By itself a tragic moment only Puccini could conjur but for me its forever associated with another story told by a survivor of Auschwitz. One day as this prisoner was walking the grounds this aria, so sincerely sung, drifted from a window across the yard. When the guards heard, they ran into this building and it got quiet. They killed him sadly. Expressively sung, i never think of Cavaradossi sitting in his cell, but of a very real person in hell on earth singing his own death sentence, reminiscing of brighter days before dying on his own terms. Its a piece now almost too tragic to hear. A Cavaradossi come to life.

Consider your mood dampened :lol: Sorry. When it comes to opera i prefer tragedies though.


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## Annied (Apr 27, 2017)

The final scene from "Andrea Chénier". I first saw this on video, with Carreras and Marton, when I'd only just discovered opera. I have to listen to music several times before it makes any sense to me, but even on the first playing, the electric atmosphere came crackling out of the television scene and had me spellbound.


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## Pugg (Aug 8, 2014)

Annied said:


> The final scene from "Andrea Chénier". I first saw this on video, with Carreras and Marton, when I'd only just discovered opera. I have to listen to music several times before it makes any sense to me, but even on the first playing, the electric atmosphere came crackling out of the television scene and had me spellbound.


Nice first post, welcome to TalkClassical.


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## Annied (Apr 27, 2017)

Thank you! 

I fly regularly between Newcastle upon Tyne and Munich and I've come to know Schiphol very well!! (I'm also very lucky in that the BSO is easily reachable from my base in Germany. Far easier than the ROH and cheaper too!)


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## Pugg (Aug 8, 2014)

Annied said:


> Thank you!
> 
> I fly regularly between Newcastle upon Tyne and Munich and I've come to know Schiphol very well!! (I'm also very lucky in that the BSO is easily reachable from my base in Germany. Far easier than the ROH and cheaper too!)


Some people have all the luck .


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## Barelytenor (Nov 19, 2011)

Annied said:


> The final scene from "Andrea Chénier". I first saw this on video, with Carreras and Marton, when I'd only just discovered opera. I have to listen to music several times before it makes any sense to me, but even on the first playing, the electric atmosphere came crackling out of the television scene and had me spellbound.


Welcome to the forum Annied, we are glad to have you here. Yes that is an absolutely crackerjack operatic scene: "Andrea Chenier." "Son io!" "Idia Legray." "Son io!" Big gulp: "Viva la morte, insiemmmmm!" Gotta love it! Listen to it with Tebaldi and Corelli singing it, among the top ones.

:tiphat:

Kind regards,

George


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## Barelytenor (Nov 19, 2011)

Schumanniac said:


> Two really.
> 
> *Vesti la giubba, from Pagliacci:* Something about that personal hurt, yet having to put on that all too tight, painful mask we all must wear sometimes just resonate. Theres just this deep despair, when well sung, that gets too me. Dont like opera much, more single arias, but Pagliacci gets to me every time and this is the heart of it.
> 
> ...


I hear it rains a lot in Denmark. 

:tiphat:

Kind regards,

George


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## Pugg (Aug 8, 2014)

Barelytenor said:


> I hear it rains a lot in Denmark.
> 
> :tiphat:
> 
> ...


Not so much as in the U.K


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## Annied (Apr 27, 2017)

Pugg said:


> Not so much as in the U.K


Or in Bavaria since I've been here this trip. We've even had 4 solid days of snow in the past 2 weeks and I'm based in the Inn valley, not halfway up a mountainside. I come here in Spring to catch an early start to the summer, not experience winter all over again!


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## Barelytenor (Nov 19, 2011)

*Oberammergau oder Unterammergau?*

I am jealous of anyone who can live in or visit Bavaria! My last name is among the most common Bavarian last names, and my paternal ancestors came from Oberammergau. But my German is not so great. While I was on a business trip, I got to take the train from Munich to Oberammergau ca. 2000 and intended to do some genealogical research. But it was Monday, and I didn't realize that both the local library and the Town Hall would be closed on that day.

But I did learn "Heut' kommt der Hans zu mir, freut sich die Lies ..."






:tiphat:

Kind regards,

George


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## Pugg (Aug 8, 2014)

Barelytenor said:


> I am jealous of anyone who can live in or visit Bavaria! My last name is among the most common Bavarian last names, and my paternal ancestors came from Oberammergau. But my German is not so great. While I was on a business trip, I got to take the train from Munich to Oberammergau ca. 2000 and intended to do some genealogical research. But it was Monday, and I didn't realize that both the local library and the Town Hall would be closed on that day.
> 
> But I did learn "Heut' kommt der Hans zu mir, freut sich die Lies ..."
> 
> ...


And you do thinks this is the most moving moment from an opera?


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## Barelytenor (Nov 19, 2011)

*Dialogues des Carmélites Finale-Salve Regina*

OK, to get back on subject:

The end of Dialogues des Carmélites:






:tiphat:

Kind regards,

George


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## Annied (Apr 27, 2017)

Barelytenor said:


> I am jealous of anyone who can live in or visit Bavaria! My last name is among the most common Bavarian last names, and my paternal ancestors came from Oberammergau. But my German is not so great. While I was on a business trip, I got to take the train from Munich to Oberammergau ca. 2000 and intended to do some genealogical research. But it was Monday, and I didn't realize that both the local library and the Town Hall would be closed on that day.


Hi George, I'm lucky enough to be able to spend about 3 months a year in a small village in Germany, close to the Austrian border. There's a regular train service to Munich from the village and the BSO kindly make sure that out of towners will still be able to catch their trains home after a performance. What more could anyone want?!

My fingers will be poised over the keyboard when the booking for "Tosca" opens in the summer, so, to get back on topic, I may have a new moving moment to post if I'm fortunate enough to get a ticket.


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## dnitzer (May 1, 2017)

A performance of Suor Angelica, with Patty Craig and Lilli Chookasian. Simple staging, beautiful singing, the chorus and the minor parts were all up to par, and the ending, the miracle scene was done so simply and effectively, no nonsense or cynicism. Just Angelica, alone on a darkened stage, and then a thin stream of light lit up her face, gradually widening until it enveloped her in a soft, pearly, glittery light. It was gorgeous to look at and to hear, 35 years ago at least, but I can still hear the roar of applause at the end of it.


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## Pugg (Aug 8, 2014)

dnitzer said:


> A performance of Suor Angelica, with Patty Craig and Lilli Chookasian. Simple staging, beautiful singing, the chorus and the minor parts were all up to par, and the ending, the miracle scene was done so simply and effectively, no nonsense or cynicism. Just Angelica, alone on a darkened stage, and then a thin stream of light lit up her face, gradually widening until it enveloped her in a soft, pearly, glittery light. It was gorgeous to look at and to hear, 35 years ago at least, but I can still hear the roar of applause at the end of it.


Good memories staying with you forever.


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## SiegendesLicht (Mar 4, 2012)

Barelytenor said:


> I am jealous of anyone who can live in or visit Bavaria! My last name is among the most common Bavarian last names, and my paternal ancestors came from Oberammergau. But my German is not so great. While I was on a business trip, I got to take the train from Munich to Oberammergau ca. 2000 and intended to do some genealogical research. But it was Monday, and I didn't realize that both the local library and the Town Hall would be closed on that day.
> 
> But I did learn "Heut' kommt der Hans zu mir, freut sich die Lies ..."
> 
> ...


Oberammergau is a very, very beautiful place. I have had the luck to visit it a few times and will definitely keep coming back. And I wish I were an opera composer so I could sneak that tune into classical music and make it into a moving moment in an opera


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## Pugg (Aug 8, 2014)

SiegendesLicht said:


> Oberammergau is a very, very beautiful place. I have had the luck to visit it a few times and will definitely keep coming back. And I wish I were an opera composer so I could sneak that tune into classical music and make it into a moving moment in an opera


Start studying and composing SiegendesLicht, only the stars are unreachable.


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## dillonp2020 (May 6, 2017)

The torture scene in Tosca always gets me.


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## Pugg (Aug 8, 2014)

Montserrat Caballe "Giusto ciel! In tal periglio" L'assedio di Corinto .
Stunning!


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## Azol (Jan 25, 2015)

Much as I love Caballe, this live performance by Beverly Sills still stands untouchable. Final cadence is truly heartbreaking.






One of the most powerful and touching experiences.


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## Pugg (Aug 8, 2014)

Azol said:


> Much as I love Caballe, this live performance by Beverly Sills still stands untouchable
> 
> ]


I agree but I thought: post another voice before called Sills biased.


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## Azol (Jan 25, 2015)

Pugg said:


> I agree but I thought: post another voice before called Sills biased.


I highly doubt this, nonetheless, here is one more (hasn't been mentioned yet, as I believe):






Not the best performance (Jones' entry demonstrates perfectly the problem she developed by that time), but perfect staging and acting. Hofmann is great! The whole scene sends shivers down my spine.


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## VladaNS (May 24, 2017)

Death of Mimi in "La bohème" is just heartbreaking...


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