# Opera for theist satanist of the left hand path,in other word creepy as hell



## deprofundis (Apr 25, 2014)

Im a newbie to Opera beside fews stuff ,,, bartok bluebeard castle being sutch a thing , now i wont something stark and horrific, spook metter 11 on 10, something that would fit Fulci The beyond theme, dark operatic...

I know Diamanda Gallas but does it count for opera, in a purist form, a purist art form.I want to hear etheric opera of stark darkness , that are doom laden and evil.

:tiphat:


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## Kieran (Aug 24, 2010)

Don Giovanni! The finale, where the slain Commndatore rises from the grave to cast the Don into hell, basically!


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## WildThing (Feb 21, 2017)

Prokofiev's The Fiery Angel


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## nina foresti (Mar 11, 2014)

Boito's "Mefistofele". Ya can't beat that one! See the video with Samuel Ramey.


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## norman bates (Aug 18, 2010)

maybe this

Hindemith - Sancta Susanna


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## norman bates (Aug 18, 2010)

I forgot about Obukhov - Third and last testament

A very interesting work for many reasons, it predated a lot of modernist stuff (the twelve tone music of Schoenberg, and the use of a electronic instrument) and to my ears it sounds quite scary but in a very fascinating way. I love this music.

His sound reminds me a bit of Scriabin and Messiaen, and as a character for what I've read he was like that: religious like Messiaen and crazy like Scriabin :lol:






https://en.wikipedia.org/wiki/Nikolai_Obukhov
His largest composition, and the one to which he devoted attention for much of his early creative life, was his Kniga Zhizni (Le livre de vie, The Book of Life). According to Nicolas Slonimsky, writing in his autobiography Perfect Pitch, Obukhov's wife was so exasperated with her husband's obsessive activity on the massive and peculiar piece that once she attempted to destroy the score by cutting it up. The composer caught her in time, carefully and reverently suturing its wounds, *and adding drops of his own blood where he repaired the torn pages.*[9] *He kept it in a "sacred corner" of their Paris apartment, in a shrine upon which he placed candles to burn day and night, along with religious icons. Obukhov considered himself the intermediary rather than the composer of the piece - the person through whom the Divine allowed it to be revealed to the world - and he called that revelation a "sacred action" rather than a concert performance*.[17] Rather than using his full name, he signed this piece, as well as many others, as "Nicolas l'illuminé" (Nicolas the visionary).[10] It was intended to be performed - or rather, revealed - once a year, during the day and the night, on the first and second resurrections of Christ, in a cathedral specially constructed for that purpose alone. Of the huge piece, only the Prologue, and possibly some other sections, were performed during the composer's lifetime.[18] The score itself is part of the presentation: it was huge, amounting to 800 pages in the lost fair copy, and 2,000 pages in the copy in the Paris Bibliothèque Nationale; some of the pages were cut and mounted in the shape of the cross, on cloth and colored paper. The score contains numerous fold-outs and collages. Some of the performance markings, in addition to the repairs, were in the composer's own blood.


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## norman bates (Aug 18, 2010)

some more details about him:

http://120years.net/la-croix-sonore-nicolai-obukhov-france-1929-1934/

Nikolay Obukhov composed numerous pieces using his instrument as well as several using the Ondes-Martenot, culminating in his major work; "Le Livre De Vie" which exploited the glissando effects the Sonorous Cross could produce. The performances of these pieces were intended to be more like an occult church ceremony rather than an orchestral performance; Obukhov insisted that here were no spectators at his concerts - everyone would play their part in the mystical ritual which would take place in a circular 'temple'


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## Kieran (Aug 24, 2010)

That’s really interesting, Norman. Is this work regularly performed? 

And when you say the “score was huge”, did that translate into humongous performance length?


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## norman bates (Aug 18, 2010)

Kieran said:


> That's really interesting, Norman. Is this work regularly performed?


Not at all, actually for what I know today Obukhov is basically unknown and forgotten. It's a shame because to me this music is a very intense experience, original and otherwoldly, and as I've said, even scary.



Kieran said:


> TAnd when you say the "score was huge", did that translate into humongous performance length?


I don't know, I'm not even sure it was even ever performed in its entirety. 
The informations are very scarce, but yes, I suspect it was one of those work of Wagner or even Sorabji proportions. I don't how it could be possible that a 2000 pages score couldn't be a very long work. 
By the way, the Third and last testament above should be the introduction to the Book of life (that's what joen_cph said to me years ago).


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## Pugg (Aug 8, 2014)

Samuel Ramey - Le veau d'or ( Faust - Charles Gounod ) - 1986
All about Faust( the devil)


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## Pugg (Aug 8, 2014)

Jose van Dam - Les Contes d'Hoffmann - Scintille diamant


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## mountmccabe (May 1, 2013)

There are different answers depending on if you want the plot/text of the opera to be about magick and witches and satan, or if you want intense, foreboding music.

"Le veau d'or" from _Faust_ matches the first, but the piece is fun (Mefistofeles is performing for the rabble, presenting himself that way). Ortud's invocation in _Lohengrin_ is perhaps more frightening, but it is also very short (and Ortud is defeated). _Der Freischütz_ has some more extended sections, such as in the Wolf's Glen with Samiel, but overall this is a happy opera.

There are a few other operas that try to meld the two together, but I'm not sure how successful they are (either overall or at the melding).

The unfinished _La chute de la maison Usher_ by Claude Debussy is based on the Edgar Allen Poe short story; I think it is far more foreboding than Gordon Getty's _Usher House_, but it doesn't strike me as that extreme (and it may be difficult to find a recording of). I am not familiar with Philip Glass's _The Fall of the House of Usher_.

Paul Moravec adapted _The Shining_; it premiered in 2016. Tobias Picker adapted _Dolores Claiborne_; it premiered in 2013. I don't know either work. Along these lines but switching authors you could try _The Turn of the Screw_ by Benjamin Britten, based on the Henry James novella.

These are, of course, approaching the psychological horror that I think actually works well in opera. _Bluebeard's Castle_ is an exceptional example, the music being allowed to match the story.

But there are others that are in the same range, depending on what you're looking for. Strauss's _Salome_ and _Elektra_, and Berg's _Wozzeck_ and _Lulu_ are all brutal and foreboding, at least through long stretches. For a recent example, George Benjamin's _Written On Skin_ is full of cruelty (involuntary cannibalism as revenge, anyone?)

I think there are a lot of other operas that are at heart psychological horror stories, but the composer doesn't want that as the focus and tries to play them as tragic comedies or even love stories. But I won't get into that right now.


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## norman bates (Aug 18, 2010)

good post mountmccabe. I was thinking too about Berg and Strauss in particular.
Also for something older, maybe Weber could be mentioned:


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## Couchie (Dec 9, 2010)

Taverner (1972) by Peter Maxwell Davies.






The plot follows Taverner's 16th century conversion from Catholicism to Lutheranism and subsequently oversees the execution of a Catholic priest. Ugly business. During this early period of course, the Lutherans considered the Papacy to be satanic.

I listened to some selections for a project but can't say I'm overly familiar. But it sure sounds creepy and casts among others Death, the Antichrist, and choir of demons...


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## SixFootScowl (Oct 17, 2011)

I second the Der Freischutz recommendation above. Also there is Wagner's Der fliegende Holländer based on the Flying Dutchman legend of a sea captain doomed to sail the seas until eternity because of an oath he made that the Devil took him up on. The spookiest Der fliegende Holländer video is this one, which is considered a cult horror flick (a quasi-horror picture) as noted in this article. Other discussions are located here and  here.

The DVD apparently has two different covers. I have the first one.
















Image from the video:









Here is a brief preview:


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## aussiebushman (Apr 21, 2018)

Luba Wellisch in the final scene of Salome


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## Mal (Jan 1, 2016)

Queen of the Night:


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## SixFootScowl (Oct 17, 2011)

Getting back to this one,









Here is an image from within:


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## Eschbeg (Jul 25, 2012)

Ligeti's _Le grand macabre_ is an unrelentingly oppressive work--the plot involves two characters trying to bring about the end of the world--until the surprisingly touching finale, when everything turns out more or less okay.


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## Bardamu (Dec 12, 2011)

The first part in Il prigioniero by Luigi Dallapiccola when the mother of the prisoner retell a dreadful dream she had:






Also I find the estranging atmosphere in the third act of Minnie la candida by Riccardo Malipiero to be unsettling.
The Opera narrate the story of Minnie a very naive young lady who could not discern the humorously nature of a silly joke and began to be obsessed by the idea that all around her there were automated animals and humans.
She will then quickly descend into a spiral of madness and later such madness would spread to her relatives until she decide to commit suicide terrorized by her obsession. 
What started as a candid joke had a ruinous effect on the candid girl.


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## nina foresti (Mar 11, 2014)

It's pretty bad being stuck in a tomb and dying slowly as the air gives out in "Aida".


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## Eschbeg (Jul 25, 2012)

Speaking of morbid finales, there's also the last scene of Poulenc's _Dialogues des Carmélites_, where a dozen or so condemned nuns march to their deaths singing the _Salve regina_. The choir diminishes one voice at a time as each nun meets the guillotine.


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## Andrew Kenneth (Feb 17, 2018)

Stockhausen's "Samstag aus Licht". (Saturday from Light)

Karlheinz Stockhausen composed a gigantic seven part opera cycle called Licht. (Light)

Each opera is named after a day of the week.

Licht deals with the fight between good (Archangel Michael) and evil (Lucifer).

Samstag (Saturday) is Lucifer's opera.

Samstag consists out of four big scenes.
(Lucifer's dream - Lucifer's requiem - Lucifer's dance & Lucifer's farewell)

In 1988 DG released this opera on cd (4 cd set)
It's fetching crazy prices now =>
https://www.amazon.de/Stockhausen-S...540501295&sr=8-1&keywords=stockhausen+samstag

The Licht opera's are also available directly from the Stockhausen foundation.(more affordable)
http://www.stockhausencds.com


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