# Opera quizz



## Almaviva (Aug 13, 2010)

Here's a little opera quizz for some fun. Let's see who can answer all these questions correctly, no Google or Wikipedia or the such allowed. There are some easy ones, but some hard ones as well.

1. In what way can Galileu Galilei be associated with the history of opera?

2. What do these five operas have in common? The Consul, Giants in the Earth, The Saint of Bleecker Street, Vanessa, and The Crucible.

3. Who was the most important composer of the subgenre _opéra lyrique, _judging by the fact that seven of his works remain in the standard repertory? [this is an easy one; to make it more difficult, also name the seven operas]

4. What is the story most set to music in all of opera? [Easy too; but also say, grossly, how many times?]

5. Enrico Caruso was the most celebrated singer of Puccini's arias - his specialty - but he never recorded _Nessun dorma. _Why?

6. Name the first opera house ever built, and the city where it stood.

7. The first professor of Italian at Columbia University, Emmanuele Conegliano, had a strong association with opera. What was it?

8. Name the opera with the best and most famous examples of "ground bass" arias.

9. What was a sound detested by Rossini, who called it "the squawk of a capon whose throat is being cut"?

10. Who was the famous opera composer and maestro who was literally (no kidding!) killed by his baton?


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## mamascarlatti (Sep 23, 2009)

Almaviva said:


> 10. Who was the famous opera composer and maestro who was literally (no kidding!) killed by his baton?


Watch this and you'll know. It's rather graphic.


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## World Violist (May 31, 2007)

4. Tristan and Isolde... I'm not even going to try counting because there are probably 200 that nobody knows about (how's that for a cop-out?).
5. Probably because he died first.
8. Dido and Aeneas?
10. Jean-Baptiste Lully


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## mamascarlatti (Sep 23, 2009)

Almaviva said:


> Here's a little opera quizz for some fun. Let's see who can answer all these questions correctly, no Google or Wikipedia or the such allowed. There are some easy ones, but some hard ones as well.


1. In what way can Galileu Galilei be associated with the history of opera?
Somebody's ancestor, but I can't remember for the life of me whose.

4. What is the story most set to music in all of opera? [Easy too; but also say, grossly, how many times?]
Faust, offhand I can think of Gounod, Berlioz, Boito, Busoni, Prokofiev (Fiery Angel) and Stravinsky (Rakes' progress, loosely faustian). There are probably more.

6. Name the first opera house ever built, and the city where it stood.
Venice, but don't know the name. Not la Fenice.

8. Name the opera with the best and most famous examples of "ground bass" arias.
Didn't know what these were, cheated and looked it up so won't answer. Interesting, I will listen more carefully next time I listen to this fantastic opera.


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## Herkku (Apr 18, 2010)

4. How about Armida/Armide? At least Rossini, Gluck, Haydn, Dvorak and Lully.


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## jhar26 (Jul 6, 2008)

4. l'Orfeo - maybe.


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## Elgarian (Jul 30, 2008)

You say some of these are _easy_?


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## Almaviva (Aug 13, 2010)

Report on your answers so far:

1. The answer provided is wrong. Galileu Galilei was not the ancestor of someone important in Opera.

2. No answer to this one yet

3. No answer to this one yet. Oh come on, folks, I thought that this one was the easiest one!

4. Faust is wrong. Tristan und Isolde is wrong. Armida is wrong. L'Orfeo is right, half a point for Gaston; only half because he didn't answer the part about how many times - I'll wait a little and if nobody completes the answer - giving at least an approximation of the right figure - I'll tell.

5. This was a trick question. Caruso died before _Nessun Dorma_ was composed. One point for World Violist

6. Venice is right, and it wasn't La Fenice, but mamascarlatti failed to name the opera house, so, half a point for her.

7. No answer to this one yet. I'm dying to tell, the answer is pretty surprising, and in my opinion the most interesting one of the ten questions.

8. Dido and Aeneas is right. One point for World Violist.

9. No answer to this one yet, pretty interesting answer too.

10. Lully is right. Natalie said it first, ahead of World Violist, so she gets the point. He accidentaly smashed his foot with his conductor staff (a predecessor to the baton), got gangrene, and died.

Score so far:

World Violist leading with two points, Natalie second with one and a half, Gaston third with half a point.


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## jhar26 (Jul 6, 2008)

3. Massenet?


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## superhorn (Mar 23, 2010)

Galileo was the son of one of the leading Italian composers of the late 16th and early 17th 
century,and one of the members of the so-called Camerata,a groups of Italian poets and composers who invented the form of opera circa 1600.


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## Grosse Fugue (Mar 3, 2010)

1. His father was a member of the Florentine Camerata which "started" opera.


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## mamascarlatti (Sep 23, 2009)

Almaviva said:


> 7. The first professor of Italian at Columbia University, Emmanuele Conegliano, had a strong association with opera. What was it?


My hunch is that it it something do do with Da Ponte, who surprisingly (to me) emigrated to the States after collaborating with Mozart on his most famous operas.


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

2. This is a pure guess but did Menotti write all the libretti? I know that The Consul was his own opera and that he was close to Barber who wrote Vanessa.

9. Another wild guess - was Rossini referring to the bassoon?


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## Almaviva (Aug 13, 2010)

superhorn said:


> Galileo was the son of one of the leading Italian composers of the late 16th and early 17th
> century,and one of the members of the so-called Camerata,a groups of Italian poets and composers who invented the form of opera circa 1600.


This is correct, point for Superhorn! Italian composer Vincenzo Galilei, a member of the Fiorentine Camerata that invented opera, was the father of Galileo Galilei.


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## Almaviva (Aug 13, 2010)

Grosse Fugue said:


> 1. His father was a member of the Florentine Camerata which "started" opera.


Too late, Superhorn said it first.


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## Almaviva (Aug 13, 2010)

jhar26 said:


> 3. Massenet?


Massenet is correct. Half a point for Gaston. Now, what 7 operas of his remain in the standard repertory?


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## Almaviva (Aug 13, 2010)

elgars ghost said:


> 2. This is a pure guess but did Menotti write all the libretti? I know that The Consul was his own opera and that he was close to Barber who wrote Vanessa.
> 
> 9. Another wild guess - was Rossini referring to the bassoon?


Nope, and nope.


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## Almaviva (Aug 13, 2010)

mamascarlatti said:


> My hunch is that it it something do do with Da Ponte, who surprisingly (to me) emigrated to the States after collaborating with Mozart on his most famous operas.


This is correct. Point for Natalie. 
Emmanuele Conegliano, a.k.a. Lorenzo da Ponte (the former was his birth name, the latter, the name he adopted after his conversion from Judaism to Christianity), after having written three outstanding libretti for Mozart's masterpieces, emigrated to the United States and became a prof of Italian at Columbia College (which later became Columbia University) and taught there for 13 years until his death.


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## jhar26 (Jul 6, 2008)

Almaviva said:


> Massenet is correct. Half a point for Gaston. Now, what 7 operas of his remain in the standard repertory?


Manon
werther
Thais
Herodiade
Don Çuichotte
Cendrillon

Can't think of the seventh one.


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## Almaviva (Aug 13, 2010)

jhar26 said:


> Manon
> werther
> Thais
> Herodiade
> ...


Le Cid. But I guess you earned your full point.


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## Almaviva (Aug 13, 2010)

OK, I guess this quizz has served its purpose.

Final Score and credits:

Gold Medal, Mamascarlatti with 2.5 points
Silver Medal, World Violist with 2.0 points
Bronze Medal, jhar26 with 1.5 points
Mention: Superhorn with 1.0 point

Also ran: Grosse Fugue, Herkku, Elgar's Ghost

Awed stationary spectator (from a distance) and applauding extra: Elgarian.

Organizer, Producer, Stage Director, Judge, Publisher, Publicist, Editor, Score Keeper, Medal Boy, Chief Researcher, Consultant: Almaviva

Three points weren't attributed. 

These are the remaining answers:

2. These five operas won the Pulitzer Prize in Music.

9. A tenor's high C (go figure, he didn't shy away from writing it into his operas)

The two half-points that weren't attributed: 

The first opera house was the Teatro San Cassiano in Venice, erected in 1637.

The myth of Orfeo and Eurydice has been set to operatic music more than 60 times.

Congratulations to the winners, and thank you all for playing.:tiphat:


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## Elgarian (Jul 30, 2008)

Almaviva said:


> Also ran: Elgarian, Grosse Fugue, Herkku, Elgar's Ghost


I protest! At no stage did I run. I remained stationary, watched in awe from a distance, and applauded at all the right moments.


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## Almaviva (Aug 13, 2010)

Elgarian said:


> I protest! At no stage did I run. I remained stationary, watched in awe from a distance, and applauded at all the right moments.


Fixed, sir. My apologies.:tiphat:


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## World Violist (May 31, 2007)

Almaviva said:


> Final Score and credits:
> 
> Gold Medal, Mamascarlatti with 2.5 points
> Silver Medal, World Violist with 2.0 points
> ...


Most brilliant credit list since the TC Orchestra.


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## mamascarlatti (Sep 23, 2009)

Good quiz, Alma. How about another one?


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## Almaviva (Aug 13, 2010)

mamascarlatti said:


> Good quiz, Alma. How about another one?


Thanks, but I'll defer to the champion. Your turn.


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## mamascarlatti (Sep 23, 2009)

Almaviva said:


> Thanks, but I'll defer to the champion. Your turn.


Yes right, 2.5 points out of ten makes me a champion!:lol:. I have a memory like a sieve so am hopeless at composing this kind of thing. Let's open it up, maybe individual questions (Herkku started something like this some time ago but it fizzled out cos his questions were as fiendish as yours).


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## World Violist (May 31, 2007)

1. Who composed _La Traviata_?


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## Almaviva (Aug 13, 2010)

mamascarlatti said:


> Yes right, 2.5 points out of ten makes me a champion!:lol:. I have a memory like a sieve so am hopeless at composing this kind of thing. Let's open it up, maybe individual questions (Herkku started something like this some time ago but it fizzled out cos his questions were as fiendish as yours).


Hey, like they say, in the land of the blind, the one-eyed are kings.:lol:


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## Almaviva (Aug 13, 2010)

World Violist said:


> 1. Who composed _La Traviata_?


_La Traviata _was a collective work of the Unwatched Police cops. They planted in people's minds this made-up idea of an old Italian guy called Giuseppe Verdi. They couldn't fool me. I know that this Verdi guy is a figment of their imagination. And by the way men have never landed on the moon. That was another fake.


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## World Violist (May 31, 2007)

Jackson Pollock was also a fake. Nobody seems to notice that all of his works are so completely disparate from one another that they couldn't possibly have been done by one person. Besides, several have been dated from the French Revolution, the red "paint" being the remnants of execution sites. People just thought it would look nicer with similar patterns in different colors overlapping.


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## Almaviva (Aug 13, 2010)

World Violist said:


> Jackson Pollock was also a fake. Nobody seems to notice that all of his works are so completely disparate from one another that they couldn't possibly have been done by one person. Besides, several have been dated from the French Revolution, the red "paint" being the remnants of execution sites. People just thought it would look nicer with similar patterns in different colors overlapping.


That's nothing. If you play _La Traviata_ in reverse, there are subliminar messages there about UWP world domination schemes.

Do you know that story about Pollock dying in an alcohol-related car accident? That was the cover-up story. He was poisoned by the UWP.


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## World Violist (May 31, 2007)

Almaviva said:


> That's nothing. If you play _La Traviata_ in reverse, there are subliminar messages there about UWP world domination schemes.
> 
> Do you know that story about Pollock dying in an alcohol-related car accident? That was the cover-up story. He was poisoned by the UWP.


No, I think if you dig deeply enough, you'll find that Jackson Pollock was the cover-up story for a car that was planted smashed against a tree by the UWP, with a corpse planted inside it that looked like images intended to look like popular images of Jackson Pollock. There was no Jackson Pollock.

Anyway, does anyone else have any more opera quizz questions? I'm fresh out.


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## Almaviva (Aug 13, 2010)

World Violist said:


> No, I think if you dig deeply enough, you'll find that Jackson Pollock was the cover-up story for a car that was planted smashed against a tree by the UWP, with a corpse planted inside it that looked like images intended to look like popular images of Jackson Pollock. There was no Jackson Pollock.
> 
> Anyway, does anyone else have any more opera quizz questions? I'm fresh out.


Wow. I consider myself outwitted by an even bigger conspiracy nut!

OK. Who was the operatic singer who sang the same four songs for 25 years in a row, every night, to the same person, and who was that person? (that's an easy one).


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## mamascarlatti (Sep 23, 2009)

Answer to Alma's question: Farinelli to the King of Spain. Apparently the King didn't go in for washing, and the singing took place at night in the fuggy royal bedroom, so it can't have been much fun.


I've done my best, but I don't think it's as good as Alma's: 

1. Who composed a version of the Orfeo legend, which predated Monteverdi’s s by 7 years but met with no success?
One point for the composer and name of the work.

2. Which Russian composer’s opera has strong links to the commedia dell’arte traditions?

3. What was the name of the opera company set up in 1733 in rivalry with Handel’s Second Royal Academy of Music?
Extra half point for the name of its principal composer
Extra half point for the name of its two principal castrati.

4. Which is the first true English language opera (composer and work)?

5. Who composed a work of the same name as question 4 above which had its premiere over 300 years later?

6. Which opera premiered in the US this year based on a famous children’s book that has also been adapted twice for the silver screen?
Composer and opera name please

7. Which philosopher most closely influenced Wagner’s thinking in his later years? Which philosopher was treated by Wagner as one of the family until he broke away? (half a point each)

8. Finish this quote by Ed Garner about opera: Opera is when a guy gets stabbed and .....

9. What opera shares a name with works by Cavafy and J.M Coetze?
Composer and opera please.

10. What is the name of the librettist of the Magic flute? What part did he play in the premiere?
(half a point each)


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## Almaviva (Aug 13, 2010)

mamascarlatti said:


> Answer to Alma's question: Farinelli to the King of Spain. Apparently the King didn't go in for washing, and the singing took place at night in the fuggy royal bedroom, so it can't have been much fun.
> 
> I've done my best, but I don't think it's as good as Alma's:
> 
> ...


1. Jacopo Peri, Euridice.

3. Opera of the Nobility. Senesino and Farinelli. Farinelli's teacher Porpora was the head composer.

4. John Blow's Venus and Adonis?

7. Schopenhauer. Nietzsche.

8. Something to the effect of "still sings for 10 minutes."

10. Emanuel Schikaneder. The premiere was at Schikaneder's theater which Mozart wanted to save from bankruptcy, given that he belonged to the same Masonic lodge with Schikaneder. He was also a singer and actor, and played the role of Papageno.


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## Almaviva (Aug 13, 2010)

6. Are you talking about How the Grinch Stole Christmas? It's a musical, not an opera.


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## mamascarlatti (Sep 23, 2009)

1. Jacopo Peri, Eurydice.
correct, one point

3. Opera of the Nobility. Senesino and Farinelli. Farinelli's teacher Porpora was the head composer.
Correct, 2 points

4. John Blow's Venus and Adonis?
Correct 1 point

7. Schopenhauer. Nietzsche.
Correct 1 point

8. Something to the effect of "still sings for 10 minutes."
nearly, a few words missing, half a point.

10. Emanuel Schikaneder. The premiere was at Schikaneder's theater which Mozart wanted to save from bankruptcy, given that he belonged to the same Masonic lodge with Schikaneder. He was also a singer and actor, and played the role of Papageno.
Correct 1 point

Alma well in the lead with 6.5 points. I knew it was too easy.


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## mamascarlatti (Sep 23, 2009)

Almaviva said:


> 6. Are you talking about How the Grinch Stole Christmas? It's a musical, not an opera.


Nope. I know nothing about musicals. 6 is definitely an opera.

2, 5, 6, 8 and 9 still up for grabs.


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## Almaviva (Aug 13, 2010)

2. Stravinsky's _Petrushka_


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## mamascarlatti (Sep 23, 2009)

Almaviva said:


> 2. Stravinsky's _Petrushka_


Not an opera. Keep trying.


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## Almaviva (Aug 13, 2010)

The stabbing quote - I've read it, don't remember the exact words without looking it up, obviously. I think it was something like "still finds the energy to sing his best aria for another ten minutes."


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## mamascarlatti (Sep 23, 2009)

Almaviva said:


> The stabbing quote - I've read it, don't remember the exact words without looking it up, obviously. I think it was something like "still finds the energy to sing his best aria for another ten minutes."


Hint: what happens when you are stabbed?


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## Almaviva (Aug 13, 2010)

mamascarlatti said:


> Not an opera. Keep trying.


Darn, sure, it's a ballet. Beats me. I can't think of anything else.
And I don't think I'd be able to reply to any of the others that I haven't tried yet, so, I'm done.


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## Almaviva (Aug 13, 2010)

mamascarlatti said:


> Hint: what happens when you are stabbed?


... sing for ten minutes before he dies?


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## mamascarlatti (Sep 23, 2009)

Almaviva said:


> ... sing for ten minutes before he dies?


Close but not close enough.


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## Almaviva (Aug 13, 2010)

mamascarlatti said:


> Close but not close enough.


before he... bleeds to death? I'm trying, I'm trying!


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## Almaviva (Aug 13, 2010)

mamascarlatti said:


> Nope. I know nothing about musicals. 6 is definitely an opera.
> 
> 2, 5, 6, 8 and 9 still up for grabs.


Adamo's Little Women? Not exactly a children's book, and it has been adapted to cinema four times, not two, so, probably not. And also it premiered a few years ago, so, no. Damn!

Westergaard's Alice in Wonderland?


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## World Violist (May 31, 2007)

Oh please. 

In opera, when you're stabbed, instead of bleeding you sing for ten minutes.


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## mamascarlatti (Sep 23, 2009)

World Violist said:


> Oh please.
> 
> In opera, when you're stabbed, instead of bleeding you sing for ten minutes.


Correct. Half a point to WV for getting the other half right.

Still no correct answer to N.6


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## Elgarian (Jul 30, 2008)

Almaviva said:


> Fixed, sir. My apologies.:tiphat:


Sir, I remain awed, stationary, and applauding.


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## Elgarian (Jul 30, 2008)

Blimey, I've just been looking at Nalatie's quiz, and even though I remained merely stationary, awed and applauding (apart from being in bed when you were all answering it), I discovered that I could answer not just one but two of the questions! (Blow's _Venus & Adonis_, and Porpora). Well, that's brightened my morning. The drinks are on me.

Of course from my position of objective detachment, I don't experience the pounding anxiety and severe stress levels of the actual contestants, so it doesn't count.


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## mamascarlatti (Sep 23, 2009)

Told you it was easier than Alma's.


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## Elgarian (Jul 30, 2008)

mamascarlatti said:


> Told you it was easier than Alma's.


At the moment, _I'm_ still waiting for me to wake up.

*Edit*: y'see, it's not real, I'm still asleep! I quote one of your sentences (about waiting for us guys in Europe to wake up) and it comes out different! It's all a nightmare!


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## World Violist (May 31, 2007)

6... The Lord of the Rings! By... um... Howard Shore!

If I had any better guesses I would give them, except that I do have two better guesses as to composer. John Adams or Philip Glass?


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## mamascarlatti (Sep 23, 2009)

Elgarian said:


> At the moment, _I'm_ still waiting for me to wake up.
> 
> *Edit*: y'see, it's not real, I'm still asleep! I quote one of your sentences (about waiting for us guys in Europe to wake up) and it comes out different! It's all a nightmare!


Sorry, I saw you'd answered something, so I edited my comment.

You are actually awake:tiphat:.


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## mamascarlatti (Sep 23, 2009)

World Violist said:


> 6... The Lord of the Rings! By... um... Howard Shore!
> 
> If I had any better guesses I would give them, except that I do have two better guesses as to composer. John Adams or Philip Glass?


Well, Philip Glass is half the answer to another question.

To give you some hints about 6. the author of the original book is probably the most popular British children's writer after JK Rowling.

My favourite blogger Jennifer Rivera sang one of the main roles - that's why I know about this opera.


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## Elgarian (Jul 30, 2008)

mamascarlatti said:


> Sorry, I saw you'd answered something, so I edited my comment.
> 
> You are actually awake:tiphat:.


Either that, or you're a manifestation created by my subconscious, trying to resolve the discrepancy.


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## World Violist (May 31, 2007)

mamascarlatti said:


> Well, Philip Glass is half the answer to another question.
> 
> To give you some hints about 6. the author of the original book is probably the most popular British children's writer after JK Rowling.
> 
> My favourite blogger Jennifer Rivera sang one of the main roles - that's why I know about this opera.


Not the Golden Compass!?


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## mamascarlatti (Sep 23, 2009)

Well you've got part of the title right, but wrong book and author (Although I agree, it's a great book, but not as popular an author. You'd know if you had eight year old kids, mine reads this author obsessively over and over again). The title of the opera refers to a crucial plot element in the book, but is not the same as the actual book.


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## Elgarian (Jul 30, 2008)

*Elgarian's Mathemopera quiz*

1. Manheme
2. Montezet
3. Goumas
4. Fausnion
5. Massini
6. I Puritibelung
7. Handerdi
8. Orfmen
9. La Floridata
10. Bellgner

This list consists of 5 pairs of (partial) opera titles fused together, and five pairs of (partial) opera composers fused together. Match each pair of muddled titles with the pair of muddled composers who wrote them. For each matched pair, multiply together the two numbers corresponding to the muddled names. Add up the resulting five numbers. What's the answer?


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## mamascarlatti (Sep 23, 2009)

This is fiendish Alan. 

I can see Carmen, Puritani, Faust, Ring of the Nibelung, Boheme...

Bellini, Massenet, Wagner, Monteverdi, Handel...

But I have to go and cook breakfast,


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## Elgarian (Jul 30, 2008)

It may help to know that the first part of the fused name is always the first part of the name of the composer or title, and the last part of the fused name is always the last part of the name of the composer or title, except in one slightly anomalous case where you'll forgive the departure from the norm.

Also it may help to know that the answer is a three digit number, and if you add together its first two digits, and then subtract the third digit, you get the exact number of free Anna Netrebko CDs that Almaviva will be sending you as a reward for solving the puzzle.

I can't help wondering what _I Puritibelung_ would be like....


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## Almaviva (Aug 13, 2010)

Elgarian said:


> *Elgarian's Mathemopera quiz*
> 
> 1. Manheme
> 2. Montezet
> ...


Manon-Boheme / Massenet-Puccini 1x5=5
Monteverdi-Bizet / Orfeo-Carmen 2x8=16
Gounod-Thomas / Faust-Mignon (although you mispelled it) 3x4=12
I Puritani-The Ring of the Nibelung / Bellini-Wagner 6x10=60
Floridante-La traviata / Handel-Verdi 9x7=63

5+16+12+60+63=156

Can you guys please come up with something difficult?


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## Elgarian (Jul 30, 2008)

Almaviva said:


> Faust-Mignon (although you mispelled it)


The worst part of the mistake is that looking at the sheet of paper I used to try out various permutations, _Mignon_ was _Mignion_ over and over again. It looks like one mistake here on the forum, but actually it was about seven. Or the same mistake seven times. I'm not sure which is worse.



> Can you guys please come up with something difficult?


No chance. If I make up a puzzle, it has to be one that _I can do_.

You haven't finished, by the way. You still have to calculate how many Anna Netrebko CDs you need to send yourself.


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## mamascarlatti (Sep 23, 2009)

Looks like some answers are due:

2. Which Russian composer's opera has strong links to the commedia dell'arte traditions?

P*rokofiev's Love for Three Oranges *is based on a play by Carlo Gozzi. This production highlights this connection:










5. Who composed a work of the same name as question 4 above which had its premiere over 300 years later?

*Hans Werner Henze* also wrote an opera called Venus and Adonis.

6. Which opera premiered in the US this year based on a famous children's book that has also been adapted twice for the silver screen?
Composer and opera name please

*The Golden Ticket by Peter Ash*, based on Roald Dahl's Charlie and the Chocolate factory. Jennifer Rivera had a whale of a time being Verucca Salt, by all accounts.

9. What opera shares a name with works by Cavafy and J.M Coetze?
Composer and opera please.

*Philip Glass, Waiting for the Barbarians.* I picked it up in the local library, attracted by the title because I love Cavafy's poem. The opera is OK, plot better than the music.

OK, Alma won this one and Alan's, his turn again.


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## sospiro (Apr 3, 2010)

Risking opprobrium I am resurrecting an old thread. Found a quiz and can answer some of these.


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## Almaviva (Aug 13, 2010)

sospiro said:


> Risking opprobrium I am resurrecting an old thread. Found a quiz and can answer some of these.


Interesting, except that I'm not about to submit answers with my email address like they request, it often results in junk mail and spam being sent to our mail boxes.


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## sospiro (Apr 3, 2010)

Almaviva said:


> Interesting, except that I'm not about to submit answers with my email address like they request, it often results in junk mail and spam being sent to our mail boxes.


If you look at old questions you can't submit anyway but I've had fun seeing if I knew before I click on the answer


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## myaskovsky2002 (Oct 3, 2010)

Some questions for the wise people here!

a) Who was the composer of the Barber of Bagdad and how many performances they were until now?

b) Mention the operas by Puccini with no women *dying*.

c) How many operas did Tchaikovsky compose and how many were completely lost, can you mention them?

No encyclopedias allowed!

Martin


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## Aksel (Dec 3, 2010)

Although I'm no opera buff, but I do believe that there are two or so Puccini operas in which women don't die, and that would be La rondine (the suicide-less version, that is) and Gianni Schicci. Other than that, I'm completely clueless.


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## emiellucifuge (May 26, 2009)

I dont think the Fanciulla died did she?


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## mamascarlatti (Sep 23, 2009)

No, she went off hand in hand into the sunset with the boyfriend she had just saved from a lynching.
:trp:


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## Almaviva (Aug 13, 2010)

Aksel said:


> Although I'm no opera buff, but I do believe that there are two or so Puccini operas in which women don't die, and that would be La rondine (the suicide-less version, that is) and Gianni Schicci. Other than that, I'm completely clueless.


I wouldn't count La Rondine since Puccini's last version had the suicide, and I like to think of a composer's last version as the definitive version.
Gianni Schicci, sure, and La Fanciulla del West.


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## myaskovsky2002 (Oct 3, 2010)

*Almaviva is (almost) right*

I wouldn't count La Rondine since Puccini's last version had the suicide, and I like to think of a composer's last version as the definitive version.
Gianni Schicci, sure, and La Fanciulla del West.

but Il Tabarro a man dies....

Martin


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## myaskovsky2002 (Oct 3, 2010)

*you still have two questions...*

As always Russian opera is a big mystery for Americans...

Martin, a Russian opera lover (very critized though)


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## schigolch (Jun 26, 2011)

Interesting thread.

Let's try a very easy one, just to warm up. Google and encyclopedias are allowed and welcome:

A Roman Patrician, "A", the last survivor of one of the most ancient and prestigious roman _gens_, "B", revolts against the Republic in the first century BC. Two thousand years later, a scottish composer, "C", premiered in the 1970s one opera based on that revolt, "D". There is no commercial recording, but some veteran british operagoers confided once to TC member schigolch that they were very fond of that opera. So fond indeed, that they were so far taken as to compare its musical quality with that of a very well known opera, "E", also premiered in the British Isles, but many years before, based on just another Roman Patrician, also from one of the oldest _gens_, "F". An opera that was composed by a much admired, but non british, musician, "G".

We need to find the answers from "A" to "G".


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## rgz (Mar 6, 2010)

I've come across some interesting facts while reading various opera books, hope no one minds if I add a few trivia questions:

1) Who was the first tenor to sing a high C with full chest voice (as opposed to taking it falsetto), and approximately when (within 20 years or so)?

2) Easy one: This soprano once sung Brunnhilde and _I Puritani's_ Elvira in the same week, and received rave reviews for each.

3) This famous overture is actually about largely recycled from an overture that had previously been used in two earlier operas that were failures, finally finding a permanent home in the composer's most famous opera. Name the opera.


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## Almaviva (Aug 13, 2010)

schigolch said:


> Interesting thread.
> 
> Let's try a very easy one, just to warm up. Google and encyclopedias are allowed and welcome:
> 
> ...


You're talking about _The Catiline Conspiracy, _by Scottish composer Iain Hamilton, premiered in 1974, talking about the life of Lucius Sergius Catilina. I'm guessing that the second opera is Handel's _Silla, _about Lucius Cornelius Sulla.


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## amfortas (Jun 15, 2011)

rgz said:


> 1) Who was the first tenor to sing a high C with full chest voice (as opposed to taking it falsetto), and approximately when (within 20 years or so)?


Would that be Gilbert Duprez in the 1831 premiere Italian performance of _Guglielmo Tell_?


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## amfortas (Jun 15, 2011)

rgz said:


> 2) Easy one: This soprano once sung Brunnhilde and _I Puritani's_ Elvira in the same week, and received rave reviews for each.


Maria Callas.


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## rgz (Mar 6, 2010)

amfortas said:


> Would that be Gilbert Duprez in the 1831 premiere Italian performance of _Guglielmo Tell_?


 Nicely done! Also of interest is that even a high Bb was normally sung in falsetto until Domenico Donzelli sang it in full voice, though I don't have an exact date for this -- approximately 1820.



amfortas said:


> Maria Callas.


2 for 2


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## ooopera (Jul 27, 2011)

rgz said:


> 3) This famous overture is actually about largely recycled from an overture that had previously been used in two earlier operas that were failures, finally finding a permanent home in the composer's most famous opera. Name the opera.


William Tell?


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## Almaviva (Aug 13, 2010)

rgz said:


> 3) This famous overture is actually about largely recycled from an overture that had previously been used in two earlier operas that were failures, finally finding a permanent home in the composer's most famous opera. Name the opera.


Your first two have been solved already. The third one is the overture to _Il Barbiere di Siviglia_, recycled from _Aureliano in Palmira_ and _Elisabetta, Regina d'Inghilterra_. However, I wouldn't entirely call the latter a failure. Another recycled piece of music in _The Barber_ also comes from _Elisabetta_: _Una voce poco fa. _Actually I think that _Elisabetta_ is a pretty good opera.


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## Couchie (Dec 9, 2010)

1. Longest single Wagner opera?
2. Longest _Ring_ recording?
3. First (and only?) Brunnhilde to actually ride a horse in the immolation scene?

No google.


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## Almaviva (Aug 13, 2010)

Couchie said:


> 1. Longest single Wagner opera?
> 2. Longest _Ring_ recording?
> 3. First (and only?) Brunnhilde to actually ride a horse in the immolation scene?
> 
> No google.












:lol:


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## Couchie (Dec 9, 2010)

With Wagnerian humorlessness:

_Try again, my dear Almaviva._


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## schigolch (Jun 26, 2011)

Almaviva said:


> You're talking about _The Catiline Conspiracy, _by Scottish composer Iain Hamilton, premiered in 1974, talking about the life of Lucius Sergius Catilina. I'm guessing that the second opera is Handel's _Silla, _about Lucius Cornelius Sulla.


Good.......


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## amfortas (Jun 15, 2011)

Couchie said:


> 1. Longest single Wagner opera?


I'm pretty sure the longest Wagner opera is _Götterdämmerung_. As I recall, it took up six old LP discs of the Solti Ring cycle instead of the five needed for _Die Walküre_ and _Siegfried_.



Couchie said:


> 2. Longest _Ring_ recording?


Without googling (and therefore guessing), I'll say maybe the Reginald Goodall English-language version. He was known for slow tempi. If not that, maybe one of Furtwangler's two recorded versions.



Couchie said:


> 3. First (and only?) Brunnhilde to actually ride a horse in the immolation scene?


Again, without looking it up, I'll take a guess and go all the way back to Amelie (spelling?) Materna in the premiere Ring performance at Bayreuth in 1876.


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## Couchie (Dec 9, 2010)

#2 is correct (just shy of 17 hours). #1 is a bit of an obtuse question since it hinders on the tempo taken by the conductor, Goodall for example does stretch Götterdämmerung out for over 5 hours. However taking a "conventional" tempo it's not the longest.

I can't find anything to confirm or deny whether Materna did ride Crane, she did appear with a horse donated by King Ludwig, somehow I seriously doubt she jumped on it and rode it:


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## schigolch (Jun 26, 2011)

A little more difficult, but still easy:

A great tenor, with surname "A", shared this surname with the title of an opera, "B", premiered in Germany in the 1930s. This opera, from composer "C", was considered by some critics the best german opera since _Palestrina_. It was performed until the 1950s, but after the composer's death has fallen into oblivion. "C" shares also the surname with a modern composer, "D", born in the 1950s, that premiered in the 21st century the opera "E", in Frankfurt.


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## Aksel (Dec 3, 2010)

Couchie said:


> 1. Longest single Wagner opera?


Isn't it Meistersinger? The recording I have with Karajan ticks in at 04:25:13. But the Solti Götterdämmerung isn't that much shorter at 04:24:41. But I've read a lot of places that Meistersinger is the longest, and with the right (or wrong, rather) conductor, it could probably take well over 5 hours.


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## Couchie (Dec 9, 2010)

Aksel said:


> Isn't it Meistersinger? The recording I have with Karajan ticks in at 04:25:13. But the Solti Götterdämmerung isn't that much shorter at 04:24:41. But I've read a lot of places that Meistersinger is the longest, and with the right (or wrong, rather) conductor, it could probably take well over 5 hours.


Only when James Morris is singing it. *hearty laugh*


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## Couchie (Dec 9, 2010)

I will give the answers:

*1. Longest single Wagner opera?*
Kind of a flawed question given the prevalence of quirky opera conductors, but the longest is probably actually _Rienzi_, in its original uncut form. It has 5 acts, the premier ran over 6 hours, and it includes a 40-minute ballet. Just comparing pages of music from IMSLP:

Rienzi - 1048
Meistersinger - 823
Gotterdammerung - 615

*2. Longest Ring recording?*
amfortas got it, Reginald Goodall's English-language version is about 17 hours long.

*3. First (and only?) Brunnhilde to actually ride a horse in the immolation scene?*
Marjorie Lawrence (1907 - 1979).


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## amfortas (Jun 15, 2011)

Good quiz, Couchie! I'll offer a Wagner question of my own.

Where is the only tenor high C in Wagner's ten mature operas (I can't speak for the earlier ones)?


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## Aksel (Dec 3, 2010)

amfortas said:


> Good quiz, Couchie! I'll offer a Wagner question of my own.
> 
> Where is the only tenor high C in Wagner's ten mature operas (I can't speak for the earlier ones)?


Isn't it in Siegfried?


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## Almaviva (Aug 13, 2010)

schigolch said:


> A little more difficult, but still easy:
> 
> A great tenor, with surname "A", shared this surname with the title of an opera, "B", premiered in Germany in the 1930s. This opera, from composer "C", was considered by some critics the best german opera since _Palestrina_. It was performed until the 1950s, but after the composer's death has fallen into oblivion. "C" shares also the surname with a modern composer, "D", born in the 1950s, that premiered in the 21st century the opera "E", in Frankfurt.


This is driving me crazy. I tried several different angles but there is always a piece missing. For example, there is a non-operatic tenor, Johnny Mathis, who did have operatic training and is classified as a tenor. Mathis der Maler premiered in 1938. However I couldn't find a modern composer also called Hindemith. Other angles (e.g. recent world premieres in Frankfurt) are hard to find and the ones that I did find didn't get me anywhere. I'm throwing the towel. Solution, please.


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## schigolch (Jun 26, 2011)

Some hints. 

Composer "D" was born precisely in 1953, and opera "E" was premiered in 2005.

Composer "C" was president of the Munich Musikhochshule after the Second World War, and apart from opera "B", he wrote another one, a comic opera, premiered in Germany during the war, in 1944, at the city of Dresden.


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## schigolch (Jun 26, 2011)

By premiered in 2005, I mean premiered in Frankfurt (not the world premiere) 

And a very useful hint: both "C" and "D" share their surname with another composer , a Czech composer that died in the Holocaust, because he was Jewish (born in Brno).


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## Almaviva (Aug 13, 2010)

schigolch said:


> By premiered in 2005, I mean premiered in Frankfurt (not the world premiere)
> 
> And a very useful hint: both "C" and "D" share their surname with another composer , a Czech composer that died in the Holocaust, because he was Jewish (born in Brno).


Oh... Not the world premiere... this may have hindered my searches, I was looking for operas that had their world premiere in Frankfurt between 2001 and 2011. OK, I'll try again.


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## ooopera (Jul 27, 2011)

A: Fritz Wunderlich
B: Tobias Wunderlich
C: Joseph Haas
D: Georg Friedrich Haas
E: Nacht


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## Almaviva (Aug 13, 2010)

OK, now I got Joseph Haas and his opera _Tobias Wunderlich_ (1937), his other opera is _Die Hochzeit des Jobs_ (1944).
The tenor is Fritz Wunderlich. Then we have Georg Friedrich Haas, Austrian composer born in 1953 who premiered his opera _Die schöne Wunde _in 2003 in Bregenz (world premiere) but as far as I know it wasn't given in Frankfurt. But _Nacht, _his chamber opera, was given in Frankfurt in 2005, territorial premiere on 6/19/2005 - but not at the main opera house which also threw me off-scent. It was given at the Bockenheimer Depot. Correct?

PS - Darn, while I typed this and looked up the details, ooopera beat me to it! It's not fair!!!!:scold:

:lol:


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## sospiro (Apr 3, 2010)

Almaviva said:


> PS - Darn, while I typed this and looked up the details, ooopera beat me to it! It's not fair!!!!:scold:


:lol:

Yeah, right ...


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## schigolch (Jun 26, 2011)

Ooopera got it right!.

I thought it was not very difficult to solve. I will compensate proposing an easy quiz, and we won't even need Google or enciclopedies (though they are still welcome, if necessary):

A famous composer and conductor is attending the performance of one of his operas abroad. A young composer presents himself and give him the piano reduction of the score of his last piece, to ask for his opinion. 

Four years later, in the country of the famous composer, the opera of the young one and a new piece by the older maestro are performed. It's clear that both works share many features. The young composer is accused of plagiarism, but he argues his piece was written four years before. Meanwhile, the famous composer keep his mouth shut. With time, the young composer's opera is forgotten, while the old composer's opera is still celebrated as a masterpiece.

Name of the composers, and the operas.


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## Couchie (Dec 9, 2010)

amfortas said:


> Good quiz, Couchie! I'll offer a Wagner question of my own.
> 
> Where is the only tenor high C in Wagner's ten mature operas (I can't speak for the earlier ones)?


I only know this because I'm the type of person who watches high note compilation videos on Youtube, but it's in Act 3 of Gotterdammerung, when Siegfried greets Hagen and company with his Hi-Ho's.


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## Almaviva (Aug 13, 2010)

sospiro said:


> :lol:
> 
> Yeah, right ...


I swear! I was getting all the details, premiere date, etc. I had my reply window open, and was doing the research on another tab. I got to Haas immediately, given the hint about his presidency of the Munich music school, then what was bugging me was finding out whether or not the other Haas' well known opera in the 21st century had been given in Frankfurt; that's what took me a while to get, and when I finally discovered that only _Nacht_ was given in Frankfurt (I had been looking at the wrong opera house) I hit submit reply, and that's when I saw that ooopera had done it already. Honest!


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## Almaviva (Aug 13, 2010)

schigolch said:


> Ooopera got it right!.
> 
> I thought it was not very difficult to solve.


The problem was with the première in Frankfurt which was invalidating every angle I was trying because I was assuming it was a world première.
Once you said it wasn't a world première, it became possible.


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## ooopera (Jul 27, 2011)

Sorry Alma! Don't be mad.  I was also thinking about the right solution since Schigolch posted the question. But I couldn't solve it without hints.


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## amfortas (Jun 15, 2011)

Couchie said:


> I only know this because I'm the type of person who watches high note compilation videos on Youtube, but it's in Act 3 of Gotterdammerung, when Siegfried greets Hagen and company with his Hi-Ho's.


Correct, Couchie!

This moment holds the distinction of being one of the most pointless high Cs in all of opera. Siegfried hits the note as he calls out casually to his hunting companions--there's no narrative or emotional impetus for such a vocal display, and it's not even held long enough to be all that impressive.

It's like Wagner had just discovered tenor high Cs and wanted to try one out for the hell of it.


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## Almaviva (Aug 13, 2010)

ooopera said:


> Sorry Alma! Don't be mad.  I was also thinking about the right solution since Schigolch posted the question. But I couldn't solve it without hints.


I'm not mad. My angry smiley was intended as tongue-in-cheek. Kudos for solving it. I was just explaining to Annie that I wasn't trying to run on your success and get the details only after seeing your post because I never saw it and was reaching the same conclusions independently, but I *did* say that you beat me to it. It obviously took me longer since you posted it first (it took me a while to confirm that _Nacht_ had been given in Frankfurt so my solution wasn't complete until I got the confirmation - while you obviously got to it first), and getting to it first is the spirit of any quiz, so your merit is not to be disputed.:tiphat:

All my whining was just humor.


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## ooopera (Jul 27, 2011)

Yeah!


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## Couchie (Dec 9, 2010)

amfortas said:


> Correct, Couchie!
> 
> This moment holds the distinction of being one of the most pointless high Cs in all of opera. Siegfried hits the note as he calls out casually to his hunting companions--there's no narrative or emotional impetus for such a vocal display, and it's not even held long enough to be all that impressive.
> 
> It's like Wagner had just discovered tenor high Cs and wanted to try one out for the hell of it.


Some tenors will barely hit it, but others will hold it for an excessively long time beyond all purpose or good taste:


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## amfortas (Jun 15, 2011)

Couchie said:


> Some tenors will barely hit it, but others will hold it for an excessively long time beyond all purpose or good taste:


If you've got it, flaunt it, I guess. For me, it's an example of why high notes, in and of themselves, don't amount to that much.


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## ooopera (Jul 27, 2011)

Couchie said:


> I only know this because I'm the type of person who watches high note compilation videos on Youtube.


Mee too  Which one do you prefer?


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## schigolch (Jun 26, 2011)

_A famous composer and conductor is attending the performance of one of his operas abroad. A young composer presents himself and give him the piano reduction of the score of his last piece, to ask for his opinion.

Four years later, in the country of the famous composer, the opera of the young one and a new piece by the older maestro are performed. It's clear that both works share many features. The young composer is accused of plagiarism, but he argues his piece was written four years before. Meanwhile, the famous composer keep his mouth shut. With time, the young composer's opera is forgotten, while the old composer's opera is still celebrated as a masterpiece.

Name of the composers, and the operas._

Don't know if this quiz is a little bit hard, or simply uninteresting. 

Just in case, a small hint: one composer is German, and the other, Italian.


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## sospiro (Apr 3, 2010)

schigolch said:


> _
> 
> Don't know if this quiz is a little bit hard, or simply uninteresting.
> 
> _


_










Your questions are always too hard for me_


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## ooopera (Jul 27, 2011)

schigolch said:


> Don't know if this quiz is a little bit hard, or simply uninteresting.
> Just in case, a small hint: one composer is German, and the other, Italian.


It's interesting, no doubt. A lot!  eem, another hint maybe?


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## schigolch (Jun 26, 2011)

Both operas were performed together (like Cav/Pag), a few years ago, in the capital of the native country of the famous composer.


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## ooopera (Jul 27, 2011)

agrhčkf,aqitćpo=/()"/%"#ksjerhnči

where is Alma?


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## Almaviva (Aug 13, 2010)

ooopera said:


> agrhčkf,aqitćpo=/()"/%"#ksjerhnči
> 
> where is Alma?


I'm here. _Cassandra_, by Vittorio Gnecchi (premiered on 12/5/2005 at Teatro Comunale di Bologna, conducted by Arturo Toscanini), and _Elektra_, by Richard Strauss (premiered on 1/25/2009 at Dresden Opera). Both performed together in 2007 at Deutche Oper Berlin. There is a book about this event called _Il caso Cassandra (The Cassandra Case) _authored by Marco Ianelli. While R. Strauss' opera was obviously composed later than Gnecchi's, the latter was the one who got all the damages of the affair, as seen for example in the attitude of Vittorio Mingardi, artistic director at La Scala, who refused to schedule _Cassandra _so as not to displease Strauss. Poor Gnecchi got completely condemned to ostracism, _Cassandra _pretty much stopped being performed after some runs in 1910 and 1914, and was only recently revived.

Hey, this time I was smart... I published the post containing just the words Gnecchi, Cassandra, R. Strauss, and Elektra rapidly, and only later I went after the details and edited the post.


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## schigolch (Jun 26, 2011)

Yes. 

This is the prologue (very good) of _Cassandra_:


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## schigolch (Jun 26, 2011)

And this is the famous article by Giovanni Tebaldini:










with an article of the New York Times, if someone is interested in the full story.

http://www.nytimes.com/2001/06/24/arts/music-plagiarism-telepathy-or-forgetfulness.html?src=pm


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## amfortas (Jun 15, 2011)

Almaviva said:


> I'm here. _Cassandra_, by Vittorio Gnecchi (premiered on 12/5/2005 at Teatro Comunale di Bologna, conducted by Arturo Toscanini), and _Elektra_, by Richard Strauss (premiered on 1/25/2009 at Dresden Opera). Both performed together in 2007 at Deutche Oper Berlin. There is a book about this event called _Il caso Cassandra (The Cassandra Case) _authored by Marco Ianelli. While R. Strauss' opera was obviously composed later than Gnecchi's, the latter was the one who got all the damages of the affair, as seen for example in the attitude of Vittorio Mingardi, artistic director at La Scala, who refused to schedule _Cassandra _so as not to displease Strauss. Poor Gnecchi got completely condemned to ostracism, _Cassandra _pretty much stopped being performed after some runs in 1910 and 1914, and was only recently revived.
> 
> Hey, this time I was smart... I published the post containing just the words Gnecchi, Cassandra, R. Strauss, and Elektra rapidly, and only later I went after the details and edited the post.


Interesting. I would have thought Strauss to be the last composer who would need to plagiarize from others.


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## ooopera (Jul 27, 2011)

amfortas said:


> Interesting. I would have thought Strauss to be the last composer who would need to plagiarize from others.


Exactly! I'm really surprised. OK ... I still love him 
Do I hear Salome too (O:50)?


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## amfortas (Jun 15, 2011)

schigolch said:


> Yes.
> 
> This is the prologue (very good) of _Cassandra_:


Wow! If the rest is that good, it *does* make a worthwhile companion piece to Elektra. I imagine I would enjoy both works, without worrying too much about who borrowed from whom.


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## Almaviva (Aug 13, 2010)

These 10 minutes are pretty good! I'd love to listen to the whole thing at some point. Without having the scores side by side to be analyzed, this aural sample doesn't seem close to the recollection I have of Elektra at all, to me at least. It is very Italianate, not like Elektra's inventive and pre-modernist orchestration.
The NYT journalist seems to be dismissing the accusation of plagiarism, if I understood him correctly.
Richard Strauss was very original. Would he do such a thing? I think more likely, he read the piano score as a courtesy to a fellow composer - then forgot about it; better proof, he didn't really recall it when the Italian tried again at the Salome performance - but some musical images maybe got stuck to his unconscious. I don't think Strauss, such a prolific and creative composer, would really consciously and deliberately plagiarize someone else's work. He really didn't need it. His operas have waves and waves of music, and at times seem to be too long given how much he wants to express, could even benefit from some cuts. So why include a few lines from someone else? I mean, one writes two hours of music and then still inserts 3 minutes plagiarized from someone else? It makes no sense. The explanation must be some sort of unconscious borrowing.


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## schigolch (Jun 26, 2011)

An easier one:

One great soprano (A) sings for the first time _I Puritani_, with tremendous success, thanks to a cancellation of singer (B).

Today almost forgotten, (B) was in her times a very well considered light-lyric soprano and a beautiful woman. In the 1930s she sung in the world premiere of (C), an opera from composer, (D), composer that started a new trend in Opera some years before.

Interestingly, (C) shares title with an opera by composer (E), premiered in the 1920s with the jewish soprano (F) in the main role.

(F) was hired in the 1920s by the Italian-French Grand Opera Company, that had also under contract soprano (G), some decades later, voice teacher of (A).


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## amfortas (Jun 15, 2011)

I don't know the answer, but I'm pretty sure that Kevin Bacon is in there somewhere.


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## Couchie (Dec 9, 2010)

ooopera said:


> Mee too  Which one do you prefer?


I of course like the ridiculously sustained high C's. Unnecessary overdramatization? _This... is... WAGNER!!!!_


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## AnaMendoza (Jul 29, 2011)

There's a classic rule for anyone in the creative arts, that you _never_ 'just take a look at' the unpublished work of someone else. If any similarity in concept or details ever slips into something you write, you'll suffer for it.


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## ooopera (Jul 27, 2011)

schigolch said:


> An easier one:
> 
> One great soprano (A) sings for the first time _I Puritani_, with tremendous success, thanks to a cancellation of singer (B).
> 
> ...


A: Maria Callas
B: Margherita Carosio
C: Nerone
D: Pietro Mascagni
E: Arrigo Boito
F: Rosa Raisa
G: Elvira de Hidalgo


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## schigolch (Jun 26, 2011)

Good.  ..........


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## ooopera (Jul 27, 2011)

Schigolch, your questions are fabbbbbb! 
otro por favor


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## mamascarlatti (Sep 23, 2009)

ooopera said:


> Schigolch, your questions are fabbbbbb!
> otro por favor


They are - but a little terrifying. I am in awe.


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## Couchie (Dec 9, 2010)

This soprano studied piano until she was 18, when she switched into Opera singing. By 23, she could sing 11 Wagnerian soprano roles, and had performed both Sieglinde and Brünnhilde at the Metropolitan Opera.


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## Almaviva (Aug 13, 2010)

^Astrid Varnay


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## Couchie (Dec 9, 2010)

YOU CHEATER!


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## Almaviva (Aug 13, 2010)

Couchie said:


> YOU CHEATER!


 Whaaat?
Why is this cheating?
Astrid sung both Sieglinde and Brünnhilde six days apart at the Met at age 23. She studied piano until age 16 and auditioned for voice at age 18.
So, you propose a quizz question, and you get mad at the person who solves it?


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## schigolch (Jun 26, 2011)

sospiro said:


> Your questions are always too hard for me


Let's try this one. 

1.- I won an important prize while I was still a student in the conservatory

2.- My first opera was a tremendous success, and some critics said it was a cross between _La Bohème_ and a Zola's novel.

3.- This opera was adapted for the moviescreen, and I even wrote a sequel, Hollywood's style.

Who am I?


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## Almaviva (Aug 13, 2010)

schigolch said:


> Let's try this one.
> 
> 1.- I won an important prize while I was still a student in the conservatory
> 
> ...


You are Tobias Picker (I think, although a few details don't exactly match).


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## schigolch (Jun 26, 2011)

I guess they don't match because actually I'm not Tobias Picker...


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## schigolch (Jun 26, 2011)

You know, I was very long lived and for many years after the sequel to my first Opera was a dismal failure, I hardly wrote a single note of music. However, my first Opera is in the TC recommended list.


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## Couchie (Dec 9, 2010)

Almaviva said:


> Whaaat?
> Why is this cheating?
> Astrid sung both Sieglinde and Brünnhilde six days apart at the Met at age 23. She studied piano until age 16 and auditioned for voice at age 18.
> So, you propose a quizz question, and you get mad at the person who solves it?


The idea is that people make wild guesses, and then I tell them the right one with glorious enlightenment. Here you have supplied the answer right off the bat, and circumvented this process. We are not pleased.


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## ooopera (Jul 27, 2011)

Couchie said:


> The idea is that people make wild guesses, and then I tell them the right one with glorious enlightenment. Here you have supplied the answer right off the bat, and circumvented this process. We are not pleased.


OK Couchie, post another question and I will be guessing. Wild! I promise!


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## Couchie (Dec 9, 2010)

ooopera said:


> OK Couchie, post another question and I will be guessing. Wild! I promise!


I shall, although my questions do take weeks to prepare and have the solutions independently verified (I hope this makes Almaviva feel worse).


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## Almaviva (Aug 13, 2010)

Couchie said:


> I shall, although my questions do take weeks to prepare and have the solutions independently verified (I hope this makes Almaviva feel worse).


Of course, this instead makes me feel better, that I was able to solve your long-in-the-making question with the speed of a neutrino.


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## Almaviva (Aug 13, 2010)

schigolch said:


> You know, I was very long lived and for many years after the sequel to my first Opera was a dismal failure, I hardly wrote a single note of music. However, my first Opera is in the TC recommended list.


You are Gustave Charpentier, with your opera _Julien, ou la vie d'un poète_ being the failed sequel to your smashing success _Louise, _which was adapted to the screen (I own that movie). You won the _Prix de Rome_ in 1887 for your cantata _Didon_.


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## Almaviva (Aug 13, 2010)

OK, one of my own (easy).

"People talk about Anna Netrebko as the face of opera these days, with passages by Vogue magazine and so forth, while some purists complain of a few of her vocal shortcomings. 

Well, I'm also a soprano, and I've done it all - and more - much before her. I was also pretty and charming and sexy. I starred in movies (one of them with a very important actor) and on radio and television. I made dozens of operatic AND pop recordings. Magazines published my advice on fashion and decorating. My face was used to advertise airplanes, gelatin, and tomato juice. I even got a piece of land named after me in the United States. Like Anna, I married within the musical world. And this all, in spite of the fact that critics weren't totally pleased with my voice, arguing that the lower part of my range was watery and uninteresting, my intonation was wayward, and my trills were indicated rather than spelled out. Oh well, silly critics; I managed well my career, got rich, and just at the Met alone I performed a few hundred times.

Who am I?

Bonus points for the name of the actor mentioned above, and the name of my husband."


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## AnaMendoza (Jul 29, 2011)

Almaviva said:


> OK, one of my own (easy).
> 
> "People talk about Anna Netrebko as the face of opera these days, with passages by Vogue magazine and so forth, while some purists complain of a few of her vocal shortcomings.
> 
> ...


Sounds like Lily Pons to me, although I didn't realize that anyone criticized her. (Except my grandmother, who used to do the darndest imitation of the _Bell Song_.)


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## Almaviva (Aug 13, 2010)

OK, Couchie, you're vindicated, mine was solved in 7 minutes!

And the bonus points, AnaMendoza?


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## AnaMendoza (Jul 29, 2011)

Almaviva said:


> OK, Couchie, you're vindicated, mine was solved in 7 minutes!
> 
> And the bonus points, AnaMendoza?


Hey, you said it was easy! I just wanted to make sure you were proved right. ::insert innocent and angelic smilie here::

Well, cheating with Wikipedia for the bonus points. She starred with Henry Fonda in a film called "I Dream too Much", and she was married for 20 years to André Kostelanetz.

Looks like she played singers. I want to see _Hitting a New High_, where she played Oogahunga, the Bird-Girl.


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## Almaviva (Aug 13, 2010)

AnaMendoza said:


> Hey, you said it was easy! I just wanted to make sure you were proved right. ::insert innocent and angelic smilie here::
> 
> Well, cheating with Wikipedia for the bonus points. She starred with Henry Fonda in a film called "I Dream too Much", and she was married for 20 years to André Kostelanetz.
> 
> Looks like she played singers. I want to see _Hitting a New High_, where she played Oogahunga, the Bird-Girl.


You're right in all accounts - we should add, to complete the details, that her husband was a conductor, and she performed 299 times at the Met. And there *is* an emoticon for innocent and angelic::angel:

Yes, it was easy, but I wanted to post it anyway given the similar aspects of her career with that of a certain Russian girl liked by a certain moderator.:angel:


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## schigolch (Jun 26, 2011)

Almaviva said:


> You are Gustave Charpentier, with your opera _Julien, ou la vie d'un poète_ being the failed sequel to your smashing success _Louise, _which was adapted to the screen (I own that movie). You won the _Prix de Rome_ in 1887 for your cantata _Didon_.


Bien sûr, mon cher Comte.


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## schigolch (Jun 26, 2011)

Another easy one (Internet search is always welcome).

1.- From a tale by the Brothers Grimm there comes a sweet heroine... so sweet she is also a Disney heroine...

2.- However, she is also featured in a darker play by a Swiss writer, in the beginnings of 20th century...

3.- Play that was made into an opera by another Swiss, a composer, at the end of the 20th century...

Name of the heroine, the Swiss writer and the Swiss composer.


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## ooopera (Jul 27, 2011)

schigolch said:


> Another easy one (Internet search is always welcome).
> 
> 1.- From a tale by the Brothers Grimm there comes a sweet heroine... so sweet she is also a Disney heroine...
> 
> ...


Schneewittchen (Snow White), Robert Walser and my beloved Heinz Holliger (don't know if I've mentioned before but I'm playing oboe)


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## schigolch (Jun 26, 2011)

Yes. ........


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## schigolch (Jun 26, 2011)

This is longer and a little bit (but not too much) more difficult. Just for the weekend.

In the same year in which A (a conductor and horn player) died, B was executed after the failure of his revolt. He shared his surname with other, more obscure, individual that was married to C, the daughter of two very famous singers, D and E, that were the driving force after the _Théâtre des Italiens_, and were a major scandal by living openly together without being married. One of their colleagues there, was famous bass F, that was also an ancestor of action movie hero, G.

Coming back to the operatic thread, D shared the stage with soprano H, the day one of the most famous operas of all times was premiered in Milan. Ten years after H's retirement, one great composer of the same nationality than H, I, wrote opera J, that he will revisit years later. Also this same year was born K, that will give his name to some important awards. Though mainly oriented to the literature world, there is also a musical prize, and the first opera to win the award was L.

The prize is very rarely awarded to the same person twice. One of those rare double recipients was M, with his plays N and O. Many years later, N was adapted for the Opera stage by P, with Q in the starring female role. On the other hand, O was awarded just the same year that M wrote his only Opera libretto, R.

In R's title, there is a famous writer that was a character in a movie S, played by actor T. In this movie there were other writers too, but we are interested in U, that was also a physician. He wrote in 1819 a horror tale that was the basis for several opera librettos. The two most important operas out of this tale were premiered the same year, with the same title, V, and the respective composers were W and X.

W's opera was conducted a few years after his premiere by the great composer, Y, that even wrote additional music for it, just as he did for our old friend, this famous opera premiered by D and H. In fact, he wrote an aria for character Z...

I will go on, but I'm afraid I've run out of letters...


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## ooopera (Jul 27, 2011)

Schigolch a.k.a. Genius! 

This alphabet quizz ... are you sure it can be solved?


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## schigolch (Jun 26, 2011)

Sure, it's not difficult, just a little bit longer than usual...


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## amfortas (Jun 15, 2011)

In the same year [_1916_] in which *Hans Richter* (a conductor [_of the first complete Ring cycle!_] and horn player) died, *Patrick Henry Pearse* was executed after the failure of his [_Irish_] revolt. He shared his surname with other, more obscure, individual [_Godfrey, Lord Pearse_] that was married to *Cecilia Maria de Candia*, the daughter of two very famous singers, *Giulia Grisi* and *Mario De Candia*, that were the driving force after the Théâtre des Italiens, and were a major scandal by living openly together without being married. One of their colleagues there, was famous bass *Luigi Lablache*, that was also an ancestor of action movie hero, *Stewart Granger*.

Coming back to the operatic thread, *Giulia Grisi* shared the stage with soprano *Giuditta Pasta*, the day one of the most famous operas of all times [_Norma_] was premiered in Milan. Ten years after Pasta's retirement [_1837_], one great composer of the same nationality, *Giuseppe Verdi*, wrote opera *Macbeth*, that he will revisit years later. Also this same year [_1847_] was born *Joseph Pulitzer*, that will give his name to some important awards. Though mainly oriented to the literature world, there is also a musical prize, and the first opera to win the award was *Gian Carlo Menotti's The Consul* [_1950_].

The prize is very rarely awarded to the same person twice. One of those rare double recipients was *Tennessee Williams*, with his plays _*A Streetcar Named Desire*_ and _*Cat on a Hot Tin Roof*_. Many years later, _*Streetcar*_ was adapted for the Opera stage by *Andre Previn*, with *Renée Fleming* in the starring female role. On the other hand, _*Cat on a Hot Tin Roof*_ was awarded just the same year [_1955_] that *Williams* wrote his only Opera libretto, _*Lord Byron's Love Letter*_ [_composed by Raffaello de Banfield_].

In _*Lord Byron*_'s title, there is a famous writer that was a character in a movie _*Gothic*_, played by actor *Gabriel Byrne*. In this movie there were other writers too, but we are interested in *John Polidori*, that was also a physician. He wrote in 1819 a horror tale that was the basis for several opera librettos. The two most important operas out of this tale were premiered the same year, with the same title, _*Der Vampyr*_, and the respective composers were *Heinrich Marschner* and *Peter Josef von Lindpaintner*.

*Marschner*'s opera was conducted a few years after his premiere by the great composer, *Richard Wagner*, that even wrote additional music for it, just as he did for our old friend, this famous opera [_Norma_] premiered by *Giulia Grisi* and *Giuditta Pasta*. In fact, he wrote an aria for character *Oroveso*.

Nothing to it!


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## schigolch (Jun 26, 2011)

Very good!.

The movie was in fact _Roaming with the wind_, and the actor Hugh Grant, but with the clues in the quizz Gothic / Gabriel Byrne is a valid answer too.


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## schigolch (Jun 26, 2011)

And this is the aria written by Wagner for Oroveso:


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## Almaviva (Aug 13, 2010)

amfortas said:


> Nothing to it!


Pfft... and it took you more than four hours to solve it? I'd have solved it in five minutes! Amateur!:devil:


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## amfortas (Jun 15, 2011)

Almaviva said:


> Pfft... and it took you more than four hours to solve it? I'd have solved it in five minutes! Amateur!:devil:


Actually, more like half an hour.

And it only took me that long because . . . um . . . my internet went down . . . and I had to work it all out in my head . . .

Yeah . . . that's right . . .


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## Almaviva (Aug 13, 2010)

amfortas said:


> Actually, more like half an hour.
> 
> And it only took me that long because . . . um . . . my internet went down . . . and I had to work it all out in my head . . .
> 
> Yeah . . . that's right . . .


Sure, sure, pal. And then once you had it all written down on paper, your dog ate your homework, I mean, your solution, right?


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## schigolch (Jun 26, 2011)

A different kind of quiz. Being the first one, this is very easy and a little bit silly: 










*Title of an opera*


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## Almaviva (Aug 13, 2010)

schigolch said:


> *Title of an opera*


Hm... The Nose?


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## schigolch (Jun 26, 2011)

Well, it's easy but not that easy... 

The keys here are the picture of the singer and the text.


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## amfortas (Jun 15, 2011)

Hmmm . . .

OK, it's a nasal CAVity . . . and that guy is baritone RUSell Braun:










So it's CAValleria RUSticana!

Or that guy is tenor Germa¡n VILLar:










So it's . . . CAVILLARia Rusticana!

Or . . .

Oh heck, I give up.


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## schigolch (Jun 26, 2011)

The guy is an italian tenor. From Sicily.


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## trittico (Oct 2, 2011)

Anatomically i think that is the frontal sinus. This gets me nowhere. So I will try to give you the answer which it is least likely to be: The Grapes of Wrath? Or maybe The Cunning Little Vixen?


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## trittico (Oct 2, 2011)

Actually I am going to re-guess: resonance is also an echo. All tenors are narcissistic. I am going with Gluck's _Echo et Narcisse_


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## schigolch (Jun 26, 2011)

It's very simple.

The tenor was born in Palermo, in 1952.


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## ooopera (Jul 27, 2011)

Un ballo in maschera


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## schigolch (Jun 26, 2011)

Yeah!. 

It was very silly, as I forewarned all of you.


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## schigolch (Jun 26, 2011)

*Opera title*


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## Almaviva (Aug 13, 2010)

Un Giorno di Regno (King for a Day)?


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## schigolch (Jun 26, 2011)

No, it's an obscure opera, but by a far more obscure composer.

It's very closely related to the picture. Direct logic.


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## ooopera (Jul 27, 2011)

In which direction? Winner? Victory? Fame?


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## schigolch (Jun 26, 2011)

This is more related to the team this guy is playing for (a national team of a hugely popular sport in that country), and the biggest win in the history of that team. 

I know this is a difficult one, so I will give an additional hint: the opera was premiered in the capital of the above country, a few years ago, and six years after this great win.


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## ooopera (Jul 27, 2011)

Martin Smolka, Nagano






Wow, where do you find those operas?


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## schigolch (Jun 26, 2011)

Very good!.

New operas's premieres are always on my radar.


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## schigolch (Jun 26, 2011)

This one is easy.

A 19th century French novelist and historian wrote several short stories. One of them became very popular, and it's the base for the libretto of an even more popular opera.

However, other of his short stories, less well known and with a more fantastic plot, it's used by a German composer, author of a few operas, to create a musical, first staged by a famous american movie producer and director.

Name of the French novelist, the two short stories, the German composer, the musical, and the american director.


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## ooopera (Jul 27, 2011)

Is it Alexandre Dumas?


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## schigolch (Jun 26, 2011)

No, he is not.

The popular opera is very popular, in fact probably the most popular French opera of all times.


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## mamascarlatti (Sep 23, 2009)

When you first posted this I thought it might be Prosper Mérimée and Carmen, but I couldn't find anything about German composers and musicals. Looking at the list of works on Wiki I'd think it would have to be la Chambre Bleue as everything else is so dark.


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## schigolch (Jun 26, 2011)

You already have much of the quiz solved. 

The story involved a certain goddess and a statue coming to life... It was used by an English writer in 1898 for a novella, in which the musical, premiered in 1943, was based.


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## amfortas (Jun 15, 2011)

So the story is "La Vénus d'Ille." Got that much of it.


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## amfortas (Jun 15, 2011)

Wikipedia: "_One Touch of Venus_ is a musical with music written by Kurt Weill, lyrics by Ogden Nash, and book by S. J. Perelman and Nash, based on the novella _The Tinted Venus_ by Thomas Anstey Guthrie, and very loosely spoofing the Pygmalion myth."


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## amfortas (Jun 15, 2011)

By the way, another musical that premiered in 1943 was _Carmen Jones_--based, of course, on the opera _Carmen_. So in that same year, two of Merimee's stories came to Broadway by very roundabout routes!

In 1964 Merimee's "La Venus d'Ille" became the fifteenth and final opera written by the then 92-year-old French composer Henri Büsser (who died at the age of 101).


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## schigolch (Jun 26, 2011)

And _One Touch of Venus_ was staged by Elia Kazan. End of the story.


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## schigolch (Jun 26, 2011)

A is an unquestioned librettist, though a less succesful composer. He shared a very famous lover with B, an unquestioned poet, though a less succesful adventurer.

C put in music some of B poems, and he was also singing teacher for the family of D, a dubious gentleman at best, but also a statesman by right of birth. D authorized the staging of an opera, E, by composer F, that had been censored during his mother's reign. Incidentally, D also knighted C.

F also wrote another opera, G, on an ancestor of D, the libretto was based on a play by H, a great playwright, but not so influencial in the story of Literature, as 'I', that also wrote a play about D's ancestor.

However, 'I' was also the author of two plays adapted by A, for his most succesful libretti: J and K.


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## Almaviva (Aug 13, 2010)

Not enough time to check on this now, but just reading it superficially, Boito's name comes to mind as A, and Shakespeare should be I, with Otello and Falstaff being J and K.

Boito's famous lover - Eleonora Duse?


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## schigolch (Jun 26, 2011)

Let's now try to find answers from B thru H.


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## amfortas (Jun 15, 2011)

Partial credit to Alma. 

*Arigo Boito* is an unquestioned librettist, though a less succesful composer. He shared a very famous lover [Eleonora Duse] with *Gabriele d'Annunzio*, an unquestioned poet, though a less succesful adventurer.

*Francesco Paolo Tosti* put in music some of *d'Annunzio*'s poems, and he was also singing teacher for the family of *Edward VII*, a dubious gentleman at best, but also a statesman by right of birth. *Edward VII* authorized the staging of an opera, *Samson et Dalila*, by composer *Camille Saint-Saëns*, that had been censored during his mother's [Queen Victoria] reign. Incidentally, *Edward VII* also knighted *Tosti*.

*Saint-Saëns* also wrote another opera, *Henry VIII*, on an ancestor of *Edward VII*, the libretto was based on a play by *Pedro Calderón de la Barca*, a great playwright, but not so influencial in the story of Literature, as *William Shakespeare*, that also wrote a play about *Edward VII*'s ancestor [Henry VIII].

However, *Shakespeare* was also the author of two plays adapted by *Boito*, for his most succesful libretti: *Othello* and *King Lear*.


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## Aksel (Dec 3, 2010)

amfortas said:


> However, Shakespeare was also the author of two plays adapted by Boito, for his most succesful libretti: _Othello_ and *King Lear*.


Falstaff.
[Filler. Pleased to meet you. Are you well?]


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## schigolch (Jun 26, 2011)

It's ok, with the small correction by Aksel.

It was inspired in the debate about the relative merits of Shakespeare and Calderon on other thread.


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## amfortas (Jun 15, 2011)

schigolch said:


> It's ok, with the small correction by Aksel.
> 
> It was inspired in the debate about the relative merits of Shakespeare and Calderon on other thread.


Oh, Geez. Yes, I know better. I was rushing to finish the quiz before someone beat me to it and had a brain fart.

Must have had Verdi's life-long abortive effort to write a _King Lear_ in the back of my mind.

And actually, the Shakespeare play was _The Merry Wives of Windsor_ (with added passages from _Henry IV_, Parts 1 and 2).


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## Almaviva (Aug 13, 2010)

Yes, of course, me too, I said Falstaff when I meant The Merry Wives of Windsor.
Schigolch's quizzes are very informative. I love them.:tiphat:


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## schigolch (Jun 26, 2011)

A great Italian composer, 'A', premiered in the 1830s his most important opera, 'B'. This piece is based on a play, 'C', by an important Romantic writer, 'D'. This play is also the origin of other famous italian opera, 'E', by the well known composer 'F'.

Interestingly, another opera it's based on 'C'. In this case is a more obscure piece, 'G', by a composer born in Great Britain, 'H', that one year later premiered his most important opera, 'I', based on a novel 'J' by the Spaniard writer 'K'.


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## Almaviva (Aug 13, 2010)

Darn, when you say great Italian composer and the 1830's premiere of his *most important* opera, I can only think of Bellini's Norma and Donizetti's Lucia di Lammermoor. The former is based on a play but I'm not aware of other operas based on the same play, and the latter is based on a novel. I'll have to do some more thinking. Again, no time now. I need to bump into your quizzes at more convenient times because they tend to make me late for work as I keep obsessing about them instead of getting ready.


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## ooopera (Jul 27, 2011)

Almaviva said:


> Again, no time now. I need to bump into your quizzes at more convenient times because they tend to make me late for work as I keep obsessing about them instead of getting ready.


Same situation here


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## schigolch (Jun 26, 2011)

There are other great Italian composers not named Bellini or Donizetti. 

Play 'C' was also premiered in the 1830s.


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## Almaviva (Aug 13, 2010)

Yep, when you say "great" Italian composer I tend to think of the big four - Verdi, Bellini, Donizetti, Rossini - but of course there are many more. Once I get a moment I'll think about it - although I'm busy right now and I'm quite sure ooopera or amfortas or someone else will beat me to it.

:lol:


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## amfortas (Jun 15, 2011)

Almaviva said:


> ]. . . I'm busy right now and I'm quite sure ooopera or amfortas or someone else will beat me to it.


I'm flattered that you think so highly of me, but I've made no headway on this one. It's all yours!


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## Almaviva (Aug 13, 2010)

I think I got it, the first half of it.
Mercadante. Il Giuramento. Victor Hugo. Angélo, Tyran de Padoue. Gioconda, Ponchielli.


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## Almaviva (Aug 13, 2010)

Gaaaaahhhhh the continuation is not matching! While this play did generate two other operas in addition to the two quoted above, one was by a French composer, and the other one by a Russian composer. No Brit!

So I must be wrong. Back to square zero. Schigolch, this time you have really challenged us!!!


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## Almaviva (Aug 13, 2010)

I throw the towel. I've explored a dozen of other possibilities, to no avail.
I'm curious to learn what I've missed, and why.
Tell us, schigolch.


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## amfortas (Jun 15, 2011)

A joint effort by Almaviva . . .

A great Italian composer, *Saverio Mercadante*, premiered in the 1830s his most important opera, _*Il Giuramento*_. This piece is based on a play, *Angélo, Tyran de Padoue*, by an important Romantic writer, *Victor Hugo*. This play is also the origin of other famous italian opera, *La Gioconda*, by the well known composer *Amilcare Ponchielli*.

and amfortas . . .

Interestingly, another opera it's based on *Angélo*. In this case is a more obscure piece, _*Der Improvisator*_, by a composer born in Great Britain, *Eugene d'Albert*, that one year later premiered his most important opera, *Tiefland*, based on a novel [actually play] _*Terra baixa*_ by the Spaniard writer *Àngel Guimerà*.


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## Almaviva (Aug 13, 2010)

Oh wow, great, Amfortas!:tiphat: I'm glad that my first part was correct after all! So this work has generated 5 operas! I only got to 4 of them, and you got the 5th and correct one for the quiz! Fabulous!

I love these quizzes!!!

I just would like them to come up at about 7 PM Eastern Time, and not at 7 AM when I'm getting ready for work.


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## schigolch (Jun 26, 2011)

That's right!.

Well done.


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## schigolch (Jun 26, 2011)

This one is fairly easy.










*Opera title*.


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## Almaviva (Aug 13, 2010)

schigolch said:


> This one is fairly easy.
> 
> 
> 
> ...


Bruges, Die Tote Stadt?


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## schigolch (Jun 26, 2011)

Well, let's say it's not that easy. 

The opera is not from an European composer.


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## ooopera (Jul 27, 2011)

I'm sure that's Rathaus in Vienna.


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## schigolch (Jun 26, 2011)

It is, but the opera has nothing to do with Vienna.


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## ooopera (Jul 27, 2011)

Oh, no! And I'm again late for my oboe lessons ... I'll be back


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## amfortas (Jun 15, 2011)

OK, I know we're in the middle of a quiz, but I've finally come up with one of my own and can't resist sharing it!

This is in honor of poor schigolch, whom I drive crazy sometimes. Now he finally gets a chance to solve a quiz (if he wishes).


Italian opera composers A, B, C, D, E, F, G, H, and 'I' all participated in a project honoring the great composer J.

'A' also wrote a forgotten opera based on the well-known literary work K, with libretto by L, who also wrote several librettos for 'I.' Eventually 'I' wrote his own much more famous version of K, but with a different librettist.

B wrote a forgotten opera M. Years later, his more successful pupil N would write a much more famous opera on the same story.

C's work is largely forgotten, but his best comic opera has a title similar to one of 'I's tragic masterworks.

D's next-to-last opera, O, was forgotten, but an opera of the same title is the only well-known work by the later composer P. D based his final opera, Q, on a work that 'I' thought about adapting but never did.

E's final, incomplete opera R would later receive a better-known treatment by the French composer S.

F's final opera has the same title as one of the lesser works 'I' wrote with librettist L.

G wrote many operas, among them T, based on the same famous work that was later turned into a much better-known opera by S.

H composed many little-known operas, among them U, based on a work that had previously been given a much better-known treatment by the famous Austrian composer V.

Of all the composers A through 'I', only 'I' achieved great lasting fame.


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## Almaviva (Aug 13, 2010)

ooopera said:


> I'm sure that's Rathaus in Vienna.


 Oh yes, it is. I took it for Bruge's City Hall which looks a little bit similar.


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## Almaviva (Aug 13, 2010)

amfortas said:


> OK, I know we're in the middle of a quiz, but I've finally come up with one of my own and can't resist sharing it!
> 
> This is in honor of poor schigolch, whom I drive crazy sometimes. Now he finally gets a chance to solve a quiz (if he wishes).
> 
> ...


Erm... too long. You got A through V!!!!


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## amfortas (Jun 15, 2011)

Almaviva said:


> Erm... too long. You got A through V!!!!


Schigolch still has me beat. He did an A through Z!!! 

Of course, it took *me* to solve that one. But this time maybe schigolch will step up to the plate and solve mine.

By the way, if you figure out the first part of it, the rest should become a lot easier.


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## Almaviva (Aug 13, 2010)

^ [Alma, feeling lazy now, and trying to catch up with a huge pile of unread posts]


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## schigolch (Jun 26, 2011)

Almaviva said:


> Oh yes, it is. I took it for Bruge's City Hall which looks a little bit similar.


The important thing in this quiz is just the function of the building, so I could have selected this one and will be exactly the same.


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## schigolch (Jun 26, 2011)

Reading amfortas's quiz I'll bet this project is the famous "Messa per Rossini", with Rossini himself being J and Verdi being 'I', but don't have now the time to work out the details and check if I'm on the right scent or this is a false start.

Come back later on this one!.


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## schigolch (Jun 26, 2011)

I think it was the good route, after all:


A	;	Antonio Buzzolla
B	;	Antonio Bazzini
C	;	Carlo Pedrotti
D	;	Antonio Cagnoni
E	;	Federico Ricci
F	;	Alessandro Nini
G	;	Carlo Coccia
H	;	Lauro Rossi
I	;	Verdi
J	;	Rossini
K	;	Dom Karlos, Infant von Spanien
L	;	Francesco Maria Piave
M	;	Turanda
N	;	Puccini
O	;	Francesca Da Rimini
P	;	Riccardo Zandonai
Q	;	Re Lear
R	;	Don Quichotte
S	;	Massenet
T	;	Carlotta e Werther
U	;	La Figlia di Figaro
V	;	Mozart


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## amfortas (Jun 15, 2011)

Perfect! And he didn't even break a sweat! :tiphat:


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## Almaviva (Aug 13, 2010)

amfortas said:


> Perfect! And he didn't even break a sweat! :tiphat:


That's Professor Schigolch for ya!:tiphat:


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## schigolch (Jun 26, 2011)

We have still a quiz to solve...


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## AnaMendoza (Jul 29, 2011)

Here's something odd--and I've noticed something like it before, in another thread. I'm on page 15 of 16 in this thread--the last post I see is schigolch: "We have still a quiz to solve".

However, I see a page 16 listed, that should, supposedly, have replies 226 - 228. But, I can't get to it. When I click on the '16'--I'm sent to the top of this page, page 15. If I click on 'Last"--the same thing happens. So, this is a test to see what happens when I toss another post into the mix.

And, in case anyone wonders what happened, I'm now on the elusive page 16 of the thread--the only post that shows is mine, but the page says that it contains replies 226 - 229.


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## ooopera (Jul 27, 2011)

schigolch said:


> We have still a quiz to solve...


Yes, I'm thinking about town hall night and day


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## schigolch (Jun 26, 2011)

Town hall is indeed the key to this quiz. 

About AnaMendoza's quiz, I don't have a clue.


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## Couchie (Dec 9, 2010)

- (2 x







)


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## Almaviva (Aug 13, 2010)

AnaMendoza said:


> Here's something odd--and I've noticed something like it before, in another thread. I'm on page 15 of 16 in this thread--the last post I see is schigolch: "We have still a quiz to solve".
> 
> However, I see a page 16 listed, that should, supposedly, have replies 226 - 228. But, I can't get to it. When I click on the '16'--I'm sent to the top of this page, page 15. If I click on 'Last"--the same thing happens. So, this is a test to see what happens when I toss another post into the mix.
> 
> And, in case anyone wonders what happened, I'm now on the elusive page 16 of the thread--the only post that shows is mine, but the page says that it contains replies 226 - 229.


The last page has been misbehaving in many threads, some sort of software glitch. Krummhorn is looking into it.
I've noticed that getting out of the thread completely and then entering it again often solves the problem.


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## amfortas (Jun 15, 2011)

I just noticed it recently myself. I assumed that once a page was full, the next page number would appear, even if that page itself wouldn't exist until someone posted again. 

But I'm only right 99.9% of the time.


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## ooopera (Jul 27, 2011)

Couchie said:


> - (2 x
> 
> 
> 
> ...


Coco Chanel, Vincent van Gogh and Harry Potter. 
Couchie, is this some kind of *green land* thing? Unknown to the people on earth?


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## Couchie (Dec 9, 2010)

ooopera said:


> Coco Chanel, Vincent van Gogh and Harry Potter.
> Couchie, is this some kind of *green land* thing? Unknown to the people on earth?


Each picture corresponds to an act of the same opera.


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## Aksel (Dec 3, 2010)

Hmm.

1st act: 19-(2x5)=9. No. 9 Coco Chanel. 9 coconuts? 9 perfumes?

2nd act: Stars? Night? Tree?

3rd act: Magic? Cats? Witches? Animagii? Transformation?

Truly, O green one, you have me baffled.


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## Couchie (Dec 9, 2010)

OH COME ON! You know your choices are limited to one of ten operas from a certain composer. 

Each picture corresponds to what I would say is the major thematic/dramatic centrepiece of the act.


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## amfortas (Jun 15, 2011)

Couchie said:


> OH COME ON! You know your choices are limited to one of ten operas from a certain composer.
> 
> Each picture corresponds to what I would say is the major thematic/dramatic centrepiece of the act.


Oh oh oh oh oh just got it.

_Tristan und Isolde_:

Act I: Love Potion #9

Act II: Starry Night

Act III: Transfiguration

The first act was the tough one.


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## Couchie (Dec 9, 2010)

amfortas said:


> Oh oh oh oh oh just got it.
> 
> _Tristan und Isolde_:
> 
> ...


Yay! :clap:
Yeah, first clue was a bit of a stretch, although perfume is kind of a "love potion" in itself...


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## amfortas (Jun 15, 2011)

Couchie said:


> Yay! :clap:
> Yeah, first clue was a bit of a stretch, although perfume is kind of a "love potion" in itself...


Well, since you've just admitted that you listen to the bloody thing every day, it wasn't hard to guess the opera.


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## Almaviva (Aug 13, 2010)

We still have schigolch's town hall thingy.

Mmm... Tannhäuser has a town hall-like place (Wartburg... although not exactly a town hall)... could it be?


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## schigolch (Jun 26, 2011)

Easier than that, you don't need to even know the opera plot, of this American piece. One of the earliest operas written by an American female, in fact.


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## Almaviva (Aug 13, 2010)

OK. Cabildo, by Amy Beach.


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## schigolch (Jun 26, 2011)

Good.  ...........


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## schigolch (Jun 26, 2011)

This one is a little bit more difficult, but not too difficult.



'A' is one of the less valued operas of his composer, one of the greatest opera composers of all time, and narrates an historical fact.

In the same campaign of 'A', with just a few months of difference, the city 'B' (whose homonymous, city 'C', appears in several operas, but perhaps the most famous are 'D', related to another war, and 'E', that is instead related to a religious controversy), was attacked by the comprimario bass in 'A'.

'F', a rather overweight intellectual born in 'B', wrote a novel, 'G', based on the adventures of a young man living in the times of 'A'. This is a very fine novel, but much less appreciated that other novel of 'F', by the title of 'H', published twenty years before 'G'.

The battle in 'B' is less well known that another battle, 'I', fought just about in the same place many years later than 'B', but exactly 200 years before the publication of 'G'. About 2 PM, a messenger is sent from 'I' to a big city, 'J', were is just about to happen opera 'K'. 

Taking into acount the distance between 'I' and 'J', and assuming the post was able to cover in one day about 7,5 times the distance covered by the Roman Army in a daily march, in which day of June takes place opera 'K'.


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## Almaviva (Aug 13, 2010)

^Whoa. This one made me dizzy (especially the end). I don't think I want to try to solve this one.


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## mamascarlatti (Sep 23, 2009)

schigolch said:


> T
> Taking into acount the distance between 'I' and 'J', and assuming the post was able to cover in one day about 7,5 times the distance covered by the Roman Army in a daily march, in which day of June takes place opera 'K'.


This bit gives me nightmarish flashbacks to primary school maths problems: "If it takes a man 3 hours to fill a pond at the rate of.....":lol:


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## AnaMendoza (Jul 29, 2011)

schigolch said:


> This one is a little bit more difficult, but not too difficult.
> 
> 'A' is one of the less valued operas of his composer, one of the greatest opera composers of all time, and narrates an historical fact.
> 
> ...


1: I'd like to know what your definition of 'too difficult' is? I definitely feel dizzy.

2. In the past, I haven't wanted to post unless I could solve the entire thing--and I never could. This one is so horrific that I think I'm just going to go for it, speculating wildly. What's the worst that could happen? People could laugh at me?

3. My first thought is that *A* might be _La battaglia di Legnano_ by Verdi. It's certainly one of the less, if not least valued operas by one of the greatest opera composers of all times. (Right down there nuzzling _Alzira_ for last place, I think.) If so, we're in a time and place of history that I know nothing about, but I won't let that stop me. So, hmmm, several basses in the cast, but it looks as though the only one who'd be in a position to attack anyone would be the Emperor Barbarossa. Is it a comprimario role? A quick glance at the synopsis shows that he doesn't seem to do too much singing. So far, so good. Off to study the campaigns of the Emperor Barbarossa.

4. Please, please, if anyone has any ideas, leap right in. I'm not meaning to inhibit anyone.


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## AnaMendoza (Jul 29, 2011)

> In the same campaign of 'A', with just a few months of difference, the city 'B' (whose homonymous, city 'C', appears in several operas, but perhaps the most famous are 'D', related to another war, and 'E', that is instead related to a religious controversy), was attacked by the comprimario bass in 'A'.


Okay, in 1175, Alessandria is being attacked by the Emperor Barbarossa. That sounds exciting--the first hint that my original leap might be accurate. So, if that's *B*, then Alexandria, Egypt would be *C*. *E* might be _Thais_? First thought that comes to mind about D is _Giulio Cesare_, but I'm not sure if it specifies where in Egypt it takes place. Let's see....


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## AnaMendoza (Jul 29, 2011)

> 'F', a rather overweight intellectual born in 'B', wrote a novel, 'G', based on the adventures of a young man living in the times of 'A'. This is a very fine novel, but much less appreciated that other novel of 'F', by the title of 'H', published twenty years before 'G'.


Approaching matters from another angle... Umberto Eco was born in Alessandria, and his picture does look a little bit chubby. Let's call him a candidate for *F*. His novel _Baudolino_, which does sound very interesting, was set during the Fourth Crusade. Close enough to qualify it for *G*? It was published in 2000, and, 20 years before, Eco published _The Name of the Rose_, which is vastly more famous, and a solid candidate for *H*.


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## AnaMendoza (Jul 29, 2011)

> The battle in 'B' is less well known that another battle, 'I', fought just about in the same place many years later than 'B', but exactly 200 years before the publication of 'G'. About 2 PM, a messenger is sent from 'I' to a big city, 'J', were is just about to happen opera 'K'.


So, if my theories are correct, Legnano should have had an important battle in 1800. (200 years before the publication of Eco's _Baudolino_.) It didn't. Hmmm... 'just about the same place'? Milan? 1796? 1800.... what was Napoleon doing in Italy in 1800. June 1800, it might seem.... Aha! Battle of Marengo--June 14, 1800. Looks close enough for government work. So, let's assume that the Battle of Marengo is '*I*'. I have a hunch that J might be Milan. Let's take a look....


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## AnaMendoza (Jul 29, 2011)

Duh! I just realized the significence of the Battle of Marengo--no wonder it sounded familiar. Vittoria! Vittoria!


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## AnaMendoza (Jul 29, 2011)

> The battle in 'B' is less well known that another battle, 'I', fought just about in the same place many years later than 'B', but exactly 200 years before the publication of 'G'. About 2 PM, a messenger is sent from 'I' to a big city, 'J', were is just about to happen opera 'K'.
> 
> Taking into acount the distance between 'I' and 'J', and assuming the post was able to cover in one day about 7,5 times the distance covered by the Roman Army in a daily march, in which day of June takes place opera 'K'.


Too late at night. I think I just got the answer without realizing it. I thought that 'about to happen' meant something like 'first production of.' Instead--let's say that *J* is Rome, and *K* is _Tosca_.


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## AnaMendoza (Jul 29, 2011)

> Taking into acount the distance between 'I' and 'J', and assuming the post was able to cover in one day about 7,5 times the distance covered by the Roman Army in a daily march, in which day of June takes place opera 'K'.


Looks like it's about 420 miles from Marengo to Rome. So, if the Roman army marched 18 miles a day, the post would go 135 miles in a day, which looks to me as though the messenger would be dashing in with news of the ghastly defeat, late in the afternoon of June 17th. _Vittoria, vittoria!_


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## AnaMendoza (Jul 29, 2011)

So, to sum things up:

A: _La battaglia di Legnano_
B: Alessandria
C: Alexandria
D: _Giulio Cesare_..... don't feel at all confident of this
E: _Thais_...feel a trace more confident of this
F: Umberto Eco
G: _Baudolino_
H: _The Name of the Rose_
I: The Battle of Marengo
J: Rome
K: _Tosca_

June 17th, 1800. Vittoria! Vittoria!


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## AnaMendoza (Jul 29, 2011)

And, I apologize for the self-indulgent wall of posts, but I didn't think I had a chance to get very far, and I know that if I'd committed to solving it all, I'd never even have gotten started--a nice lesson in problem-solving that I'll try to take to heart.


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## mamascarlatti (Sep 23, 2009)

AnaMendoza said:


> And, I apologize for the self-indulgent wall of posts, but I didn't think I had a chance to get very far, and I know that if I'd committed to solving it all, I'd never even have gotten started--a nice lesson in problem-solving that I'll try to take to heart.


I think you did very well. I just guessed Marengo and Tosca but couldn't face doing anything about it!


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## AnaMendoza (Jul 29, 2011)

mamascarlatti said:


> I think you did very well. I just guessed Marengo and Tosca but couldn't face doing anything about it!


Thank you! Here's the ridiculous thing. I was so fixated on the idea that the opera 'K' was one that was 'first produced' at that time, rather than 'the action takes place' in that time, that, when I dug my way to Marengo, I thought: "Wow, it would have been so easy for him to have included _Tosca_ in the quiz. But maybe it would have made it too easy." And then I reread the question, and did a doubletake.


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## schigolch (Jun 26, 2011)

Very good!. 

You see, it was not 'too difficult'. Now that we are more or less familiar with this type of quiz, I will soon publish one in the "too difficult" class. 

And yes, _Giulio Cesare in Egitto_ is set on Alexandria, where Caesar landed in 48 BCE in pursuit of Pompey, finding only his corpse, and a civil war in the making between Ptolemy XIII and his sister Cleopatra.


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## ooopera (Jul 27, 2011)

AnaMendoza said:


> So, to sum things up:
> 
> A: _La battaglia di Legnano_
> B: Alessandria
> ...


Brava! Brava!


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## Almaviva (Aug 13, 2010)

Wow! Spectacular! The only problem is that after reading it all, I got dizzier.
And now I'm really scared. schigolch is about to throw a curve ball at us (the "too difficult" one).


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## amfortas (Jun 15, 2011)

AnaMendoza said:


> So, to sum things up:
> 
> A: _La battaglia di Legnano_
> B: Alessandria
> ...


I would just like to take this opportunity to say . . . Wow!


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## AnaMendoza (Jul 29, 2011)

Here's a short easy one, to while away a moment while waiting for schigolch to perfect his 'too difficult' one. (Too difficult? )

Opera A, which is very lighthearted, uses, to lighthearted effect, a musical quotation from Opera B, which no one has ever thought of calling lighthearted.


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## mamascarlatti (Sep 23, 2009)

AnaMendoza said:


> Here's a short easy one, to while away a moment while waiting for schigolch to perfect his 'too difficult' one. (Too difficult? )
> 
> Opera A, which is very lighthearted, uses, to lighthearted effect, a musical quotation from Opera B, which no one has ever thought of calling lighthearted.


OK you're officially driving me insane. About 2 months ago I was listening to something -can't remember what, dammit - which quickly quoted something familiar, so that I did a double take, and had to rewind, and I now can't remember what it quoted, but it all fits with what you said.

I'm looking forward to someone putting me out of my misery.


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## notreally (Oct 25, 2011)

A=_Albert Herring_, B=_Tristan und Isolde_


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## AnaMendoza (Jul 29, 2011)

notreally said:


> A=_Albert Herring_, B=_Tristan und Isolde_


Bravo! Bravo!

Mamascarlatti, is this the answer to yours?

The sad thing is--I've seen Albert Herring live, and I haven't yet had a chance to see Tristan und Isolde. I'd rather that it were the other way around, even though I liked it.


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## AnaMendoza (Jul 29, 2011)

Okay, here's another brief one, since I'm thinking about quotations. This one might be rather challenging--I'm not sure. I have some really fond memories of discovering it, that I'll share later. 

Although composer A's musical colleagues, and especially his musical mentor, B, were very suspicious of C's influence on the musical world, composer A fell in love with C's operas, one proof being an unmistakeable quotation from C's opera D, imbedded strategically in the first act of A's opera E. E's most famous aria, F, probably the only part of E that the general public is aware of, is most commonly transcribed and played as an instrumental solo. (Visualize a piano student plunking away at it.)


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## mamascarlatti (Sep 23, 2009)

AnaMendoza said:


> Mamascarlatti, is this the answer to yours?


Bother, no. Let's hope the solution to yours will be!


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## AnaMendoza (Jul 29, 2011)

mamascarlatti said:


> Bother, no. Let's hope the solution to yours will be!


It's maddening when that happens, and you're trying to remember something. Do you have any idea what period, what style, the piece you were listening to, or the quotation, might have been?


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## AnaMendoza (Jul 29, 2011)

And, I got to thinking about my puzzle, and decided to add on a second paragraph. So, here's the revised version:

Although composer A's musical colleagues, and especially his musical mentor, B, were very suspicious of C's influence on the musical world, composer A fell in love with C's operas, one proof being an unmistakeable quotation from C's opera D, imbedded strategically in the first act of A's opera E. E's most famous aria, F, probably the only part of E that the general public is aware of, is most commonly transcribed and played as an instrumental solo. (Visualize a piano student plunking away at it.) 

Composer G also made a transition from agreeing with an authority figure who disapproved of C, to feeling great admiration for C. He wrote a non-operatic work, H, based on the same story that composer I used for an opera, J, on which A also did a substantial amount of work. However, neither H nor J approaches the renown of K, L's definitive treatment of the story. By the way, composer M, in later life closely connected with C, also wrote a musical piece, N, which derrived from K.


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## mamascarlatti (Sep 23, 2009)

AnaMendoza said:


> It's maddening when that happens, and you're trying to remember something. Do you have any idea what period, what style, the piece you were listening to, or the quotation, might have been?


Ok I'm pretty sure the quotee was R. Strauss... Possibly Salome?


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## schigolch (Jun 26, 2011)

Just reading but with no time to check if I'm on the right track, I'd say C is Wagner, with A being either Chabrier or Chausson. G looks to me Strauss, with H being the symphonic poem Don Juan, K Don Giovanni and L Mozart. M would be Listz and N the reminiscences. I and J could be several, perhaps Gazzaniga and Don Giovanni Tenorio.

Will come back later, if it's not solved by another member in the meanwhile.


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## schigolch (Jun 26, 2011)

I checked a little bit, and I was wrong, it seems that Chabrier or Chausson never actually quote Wagner, and they never worked on anything related to Don Juan...

Will try later.


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## schigolch (Jun 26, 2011)

Back.

I have went other route and it seems to me that A will be Rimsky-Korsakov, B will be Balakirev, 'J' _The Stone Guest_ and 'I' Dargomyzhsky.

In this case, E would be _The Tale of Tsar Saltan_ and F the "Flight of the Bumblebee". However, there is a problem as I can't find Wagner's quotation in _The Tale of Tsar Saltan_, so most probably I'm off the right track again or I need some help from an expert on Russian opera.


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## amfortas (Jun 15, 2011)

While schigolch solves that one, here's an easy two-parter:

Name a composer who quotes one of his serious operas in one of his lighthearted operas.

Name another composer who quotes one of his lighthearted operas in one of his serious operas.

[By the way, overture recycling doesn't count!]


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## Aksel (Dec 3, 2010)

amfortas said:


> While schigolch solves that one, here's an easy two-parter:
> 
> Name a composer who quotes one of his serious operas in one of his lighthearted operas.


Wagner. Tristan und Isolde is mentioned in the second act of Meistersinger, complete with Tristan chord!
_
Mein Kind, von Tristan und Isolde kenn' ich ein traurig Stück. Hans Sachs war klug und wollte nichts von Herrn Markes Glück_


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## Aksel (Dec 3, 2010)

schigolch said:


> I checked a little bit, and I was wrong, it seems that Chabrier or Chausson never actually quote Wagner, and they never worked on anything related to Don Juan...
> 
> Will try later.


Chabrier did. He wrote a quadrille based on themes from Tristan. It's rather amusing.


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## schigolch (Jun 26, 2011)

amfortas said:


> While schigolch solves that one, here's an easy two-parter:
> 
> Name a composer who quotes one of his serious operas in one of his lighthearted operas.
> 
> ...


_Le Nozze_ quoted in _Don Giovanni_.


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## schigolch (Jun 26, 2011)

Aksel said:


> Chabrier did. He wrote a quadrille based on themes from Tristan. It's rather amusing.


But never in an opera, it seems...


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## amfortas (Jun 15, 2011)

Aksel said:


> Wagner. Tristan und Isolde is mentioned in the second act of Meistersinger, complete with Tristan chord!
> _
> Mein Kind, von Tristan und Isolde kenn' ich ein traurig Stück. Hans Sachs war klug und wollte nichts von Herrn Markes Glück_


Wrong, wrong, wrong!

It's the third act. 



schigolch said:


> _Le Nozze_ quoted in _Don Giovanni_.


Yep.


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## Aksel (Dec 3, 2010)

amfortas said:


> Wrong, wrong, wrong!
> 
> It's the third act.


Of course it is. Sorry for being such a stupid today. I just played in a masterclass and my brain is kind of all over the place.


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## AnaMendoza (Jul 29, 2011)

schigolch said:


> Back.
> 
> I have went other route and it seems to me that A will be Rimsky-Korsakov, B will be Balakirev, 'J' _The Stone Guest_ and 'I' Dargomyzhsky.
> 
> In this case, E would be _The Tale of Tsar Saltan_ and F the "Flight of the Bumblebee". However, there is a problem as I can't find Wagner's quotation in _The Tale of Tsar Saltan_, so most probably I'm off the right track again or I need some help from an expert on Russian opera.


You're doing magnificently, overall, but you've strayed just a little bit off the right track. I was thinking of a fairly clumsy piano student, not the virtuostic type.


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## Couchie (Dec 9, 2010)

Aksel said:


> Of course it is. Sorry for being such a stupid today. I just played in a masterclass and my brain is kind of all over the place.


Kindly resign from the TC Wagner Society. You have shamed us all. :lol:


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## schigolch (Jun 26, 2011)

This is an easy one, but centered in _Die Tote Stadt_: 

A Swiss movie director, 'A', used in one of his films, 'B', Marietta's lied in the Lehmann/Tauber version. Apart from the movies, 'A' also did some opera staging direction. We can admire his work in a DVD of a fantastic opera, 'C', that is not as well considered as it should be. Among other things, because it was composed between 'D' and 'E', two summits of the genre.

In this DVD we can listen to baritone 'F', that also sung the role of Frank/Fritz in Munich, city where it was premiered an opera by Erich Wolfgang Korngold, 'G', that just by coincidence shared title with one of 'A''s movies.


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