# The Opera-enthusiast ACT-out 20 questions thread-



## Chi_townPhilly (Apr 21, 2007)

For a bit of fun- and to focus on your favorite _Acts_ in the operatic repertoire...

20 topics- one every _two_ days. For additional challenge, 
one can try to keep from naming the same Act twice (but this is _totally_ optional):

1. Favorite Tragic Act from an opera
2. Most visually spectacular Act
3. Favorite Act for _coloratura_ soprano
4. Favorite _Bel Canto_ Act
5. Favorite operatic Act involving the Supernatural
6. Favorite Act for Ensemble singing
7. Favorite Act for _Heldentenor_
8. Favorite Opening Act
9. Favorite Romantic Act
10. Your choice for most melodically rewarding Act
11. Favorite Act for Lyric Tenor
12. Favorite Middle (i.e.: not first or last) Act in opera
13. Favorite Act for supporting character(s)
14. Favorite _Verismo_ Act (or scene)
15. Favorite Act for Dramatic Soprano
16. Favorite Final Act
17. Favorite Comic operatic Act
18. Your choice for most dramatically significant Act
19. Favorite Act involving religion/religiosity
20. Favorite Act for Orchestral Performance

Enjoy! Please remember to give two days for each question- 
so that more people have an opportunity to respond to each item on the list.


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## rgz (Mar 6, 2010)

_1. Favorite Tragic Act from an opera_
Easily A3 from Lucia. One of my favorite operas, and A3 is definitely the highlight with the superlative mad scene and Tombe degli avi miei.


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## Chi_townPhilly (Apr 21, 2007)

Chi_townPhilly said:


> 1. Favorite Tragic Act from an opera


For me, it comes down to Act 4 of _La Traviata_ or Act 4 of _La bohème_.

Violetta and Mimi are, of course, the two great consumptive leading ladies of Opera- and superstar sopranos often essay both roles... but the character demands are pretty different, aren't they?

With Mimi, you get a "sailor-on-the-seas-of-fate" feeling, whereas with Violetta you get a more autonomous (hence, probably easier to admire) character. However, the tension in the relationship between Mimi and Rodolfo has a very "real-world" feeling to it, going through the ebb-and-flow of passion and disaffection that is so familiar to people's actual life experiences in relationships. The barriers to the Alfredo/Violetta relationship are more dramatic but a little more artificial-feeling to the modern audience.

It was Chekov, I think, who said "any idiot can handle a crisis, it's the day-to-day living that wears you down." You can sense the wear of day-to-day living continuously in _La bohème_. That aside, engaging characters trump most everything except for engaging music... so Violetta gets the edge for me. That, and the "false recovery" preceding Violetta's death is a more dramatic moment than that of Mimi.

It's close, but I'll go with Act 4 of _La Traviata_.


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## sospiro (Apr 3, 2010)

Nice idea for a thread Phil



Chi_townPhilly said:


> 1. Favorite Tragic Act from an opera


It's got to be from my favourite opera _Simon Boccanegra_.

Act 3. Just when the Doge finds his long lost daughter and is reconciled with his old enemy Fiesco, he discovers that he's been poisoned and is going to die. After 25 years as ruler he'd become cruel & intransigent but finding his daughter mellowed him, gave him another perspective & he became a peacemaker instead. After being the sworn enemy of Fiesco it's ironic that the Doge is poisoned by a relative nobody who simply wanted revenge because he couldn't have the Doge's daughter.


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## jflatter (Mar 31, 2010)

On a pure human scale, I am going to say the final act of Madama Butterfly. A truly tragic ending to lose your young son and then commit suicide.


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## Bardamu (Dec 12, 2011)

Chi_townPhilly said:


> 1. Favorite Tragic Act from an opera


Do I cheat if I say the one act Cavalleria Rusticana ?


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## jhar26 (Jul 6, 2008)

If we can include complete one acters it has to be Salome or Elektra for me.


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## ComposerOfAvantGarde (Dec 2, 2011)

Chi_townPhilly said:


> 1. Favorite Tragic Act from an opera


La Bohème act 2, not exactly tragic but from a tragic opera. Does it count?


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## Chi_townPhilly (Apr 21, 2007)

Bardamu said:


> Do I cheat if I say the one act Cavalleria Rusticana ?


Naah-

However, I was thinking about something like that when (early next month) we get around to discussing:


Chi_townPhilly said:


> 14. Favorite *Verismo* Act (or scene)


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## MAuer (Feb 6, 2011)

jflatter said:


> On a pure human scale, I am going to say the final act of Madama Butterfly. A truly tragic ending to lose your young son and then commit suicide.


This would also be my choice. The moment when Butterfly realizes who Kate Pinkerton is, and everything that Kate's presence in Nagasaki means, is heart-breaking.


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## jhar26 (Jul 6, 2008)

The final act from Jenufa is another strong contender.


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## Bardamu (Dec 12, 2011)

Chi_townPhilly said:


> Naah-
> 
> However, I was thinking about something like that when (early next month) we get around to discussing:


That's exactly why I asked.
But I'm afraid I'm not expert enough to try to cite a different answer for each category.

Other contenders for the spot are Norma ( final act ) and I Pagliacci.

What I always found strange about Norma finale is how suddenly Pollione changes his mind after he, for the most part of the Opera, has only eyes for Adalgisa.
Even more striking is that both decided to be burn together in what I consider an epic tragedy, so extreme in the swing of sentiment/motivation that could rival Turandot (with the difference that the stark dichotomy between Calaf/Turandot and the others is at the heart of Puccini's Opera inception).

For I Pagliacci I will wait the Verismo part.



ComposerOfAvantGarde said:


> La Bohème act 2, not exactly tragic but from a tragic opera. Does it count?


While protagonists poverty condition is stated from the beginning the mood in the first part of La Boheme is very playful/joyful.
It's in the second part the everything seems to go down.

EDIT:
Just a personal consideration, not meant to disprove your choice obviously.


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## CameraEye (Nov 18, 2011)

Tosca,final act.


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## Chi_townPhilly (Apr 21, 2007)

Chi_townPhilly said:


> 2. Most visually spectacular Act


Certainly no shortage of candidates here- Act 4 of Mussorgsky's _Boris Godunov_, my favorite Wagner backdrop Act I of _Parsifal_... but I'll again spring for an Italian here-

Virtually *all* of _Aïda_ is (at its best) visually spectacular, but Act 4 of that work 
(including the legendary "double-scene") is my choice.


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## jflatter (Mar 31, 2010)

Act two of Don Giovanni. I love a bit of fire at the opera! Obviously the Ring has contenders on that front as well.


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## ComposerOfAvantGarde (Dec 2, 2011)

Chi_townPhilly said:


> 2. Most visually spectacular Act


Final act of Wagner's Götterdämmerung.


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## MAuer (Feb 6, 2011)

*2. Most visually spectacular Act*

I would also choose _Aida_, but the second act with the triumphal scene.


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## Sieglinde (Oct 25, 2009)

Stealing this meme for LJ. I can never wait to fill these!


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## sospiro (Apr 3, 2010)

Act II _Aida_ - would love to see this opera staged in the open air.


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## MAuer (Feb 6, 2011)

*3. Favorite Act for coloratura soprano*

For a dramatic coloratura, Act II of the original version of _Fidelio_.

For a lyric coloratura, Act III of _Lucia di Lammermoor_.


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## ComposerOfAvantGarde (Dec 2, 2011)

Adès: The Tempest act I


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## CameraEye (Nov 18, 2011)

Act II, Aida


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## Chi_townPhilly (Apr 21, 2007)

Chi_townPhilly said:


> 3. Favorite Act for _coloratura_ soprano


Act II of _Die Zauberflöte_, just for the second Queen of Night Aria, alone!

You know, I thought about the initially helpful-appearing but ultimately villainous Queen of Night- and reflected that she has at least as much to do with "necessity" and "process" as Demogorgon in Shelley's _Prometheus Unbound_. In digging a little further, I took note of a quote from Goethe that had earlier escaped me:


> *It takes more culture to perceive the virtues of the "Die Zauberflöte" text than to point out its defects.*


All this might make a good topic for another thread... but there it is.


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## sospiro (Apr 3, 2010)

Act3 of Lucia di Lammermoor

I never tire of listening to this opera


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## Il_Penseroso (Nov 20, 2010)

> 1. Favorite Tragic Act from an opera


Tosca, final act



> 2. Most visually spectacular Act


The rainbow bridge from Das Rheingold

The golden fog from the legend of the invisible city of Kitezh 
(What a shame that there's no VHS/DVD production of this wonderful opera as I know)

Krommy forest scene from Boris Godunov



> 3. Favorite Act for coloratura soprano


hmmmm ..... maybe Lakme, act 2


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## Chi_townPhilly (Apr 21, 2007)

Chi_townPhilly said:


> 4. Favorite _Bel Canto_ Act


Maybe an unconventional choice, here... but how about Act I of Rossini's _Il Barbiere di Siviglia_...

In it, you get: A) one of the better operatic overtures this side of Wagner, 
B) _Largo al factotum_, and C) _Una voce poco fa_(!)


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## MAuer (Feb 6, 2011)

*4. Favorite Bel Canto Act*

Act II of Donizetti's _Anna Bolena_, with the beautiful Anna-Giovanna duet and the arias "_Al dolce guidami_" and "_Coppia_ _iniqua_."


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## Chi_townPhilly (Apr 21, 2007)

Chi_townPhilly said:


> 5. Favorite operatic Act involving the Supernatural


Hmmm- which one of the Acts (or Scenes, more accurately) from _Flying Dutchman_ should I select?!

I'll say the Final One.

'Spose there's something to be said for something from Janáček's _The Makropulos Case_, or (even less well-known) Act I of _Hamlet_, by Thomas... but not enough to make to turn away from The Dutchman!


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## MAuer (Feb 6, 2011)

*5. Favorite operatic Act involving the Supernatural*

Act II of _Der Freischütz_, with the Wolf's Glen scene.


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## Wehwalt (Jan 21, 2012)

5. Favorite operatic Act involving the Supernatural

That's gotta be the last Dutchman scene for me as well... An altogether astonishingly beautiful scene with great dramatic force, especially te Ghost's Chorus, Senta's last words, and, in Wagner's later version, the new orchestral ending. Fantastic


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## Chi_townPhilly (Apr 21, 2007)

Chi_townPhilly said:


> 6. Favorite Act for Ensemble singing


Act III of _Die Meistersinger von Nürnberg_

For the Quintet, of course-- but also for the ending chorus, which is musically outstanding (and dare I say it's even textually more sound than outcome-based analysts would have you believe...)


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## MAuer (Feb 6, 2011)

*6. Favorite Act for Ensemble singing*

I like Act II from _Lucia di Lammermoor_, particuarly the concluding scene when Edgardo bursts in on Lucia's wedding to Arturo.


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## sospiro (Apr 3, 2010)

Act3 of Rigoletto _Bella figlia dell'amore_


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## jflatter (Mar 31, 2010)

Chi_townPhilly said:


> Act III of _Die Meistersinger von Nürnberg_
> 
> For the Quintet, of course-- but also for the ending chorus, which is musically outstanding (and dare I say it's even textually more sound than outcome-based analysts would have you believe...)


Ditto.....


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## MAuer (Feb 6, 2011)

*7. Favorite Act for Heldentenor*

The final act of _Lohengrin_. So much gorgeous music, with "_In fernem Land_" and "_Mein lieber Schwan_" the highlights.


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## Chi_townPhilly (Apr 21, 2007)

*7. Favorite Act for Heldentenor*

So many choices- Act III of _Tannhäuser_ (with the Rome Narrative)... OR Act II-
Act III of _Parsifal_, or even Act I of _Siegfried_ (with the 'Forging Song')--

but if forced to choose, I'll say Act III of _Tristan und Isolde_.


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## Il_Penseroso (Nov 20, 2010)

> 4. Favorite Bel Canto Act


Difficult question ! So many from Bellini, Donizetti and Verdi



> 5. Favorite operatic Act involving the Supernatural


Der Freischütz, Wolf's Glen scene



> 6. Favorite Act for Ensemble singing


Falstaff, final, oh yes, "Tutto nel mondo è burla..."



> 7. Favorite Act for Heldentenor


Well not sure, but at the time all Parsifal's monologues


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## MAuer (Feb 6, 2011)

*8. Favorite Opening Act*

_Rigoletto_.


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## sospiro (Apr 3, 2010)

*Favourite Opening Act*

Toss up between _L'amour des trois oranges_ and _Mefistofele_



I'll go for _L'amour des trois oranges_


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## Il_Penseroso (Nov 20, 2010)

> 8. Favorite Opening Act


The legend of the invisible city of Kitezh (Fevronia and her Hymn to the wilderness)


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## Chi_townPhilly (Apr 21, 2007)

Chi_townPhilly said:


> 8. Favorite Opening Act


Crowded field!

Act I of _Götterdämmerung_, Act I of _Tristan und Isolde_, Act I of _Parsifal_-

Also Act I of _Carmen_, Act I of _The Marriage of Figaro_...

*However, I'll settle on Act I of Die Walküre!*


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## MAuer (Feb 6, 2011)

*9. Favorite Romantic Act*

Act I, _La Traviata_


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## Il_Penseroso (Nov 20, 2010)

*9. Favorite Romantic Act*

Eugene Onegin, Act 3


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## Chi_townPhilly (Apr 21, 2007)

MAuer said:


> *9. Favorite Romantic Act*
> 
> Act I, _La Traviata_


Yeah- thought about that one.


Il_Peneroso said:


> *9. Favorite Romantic Act*
> 
> Eugene Onegin, Act 3


Didn't see _that_ one coming.

More along the lines of the former, how about Act I of Puccini's _La bohème_ (?)


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## Chi_townPhilly (Apr 21, 2007)

Chi_townPhilly said:


> 10. Your choice for most melodically rewarding Act


As a teenager, I would have said Act I of *Carmen*.

About 10 years after, I would have said Act I of *Die Zauberflöte*.

Today, I'll say Act II of *Tannhäuser*. Yes, Act II- the Act that's most cited as a stumbling block to the appreciation of this opera. The only _longeur_ in the entire Act is Wolfram's Contest Song... and it really wouldn't make sense in the context of the Act if it was *great* music.

So much more to say about this. One day, I will!


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## jflatter (Mar 31, 2010)

8. Act 1 of Die Walkure
9. Act 2 of Tristan
10. Act 1 of Don Giovanni


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## MAuer (Feb 6, 2011)

*10. Your choice for most melodically rewarding Act*

So many choices . . . but I'll go with Act II of _Die Zauberflöte_.


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## Il_Penseroso (Nov 20, 2010)

> *10. Your choice for most melodically rewarding Act*


Madama Butterfly, Act I


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## MAuer (Feb 6, 2011)

I guess it's time to move on now, so --

*11. Favorite Act for Lyric Tenor*

Act I of _Die Zauberflöte_


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## Chi_townPhilly (Apr 21, 2007)

*11. Favorite Act for Lyric Tenor*

I'm trying to find a way to answer this without saying Act I of _La bohème_, which I already mentioned before [Romantic Act].

Maybe Part 3 ("_Il figlio della Zingara_") of Verdi's _Il Trovatore_.

These days, it seems that "Nessun Dorma" is held as a lyric-tenor litmus test... but you can find out a lot about a lyric tenor (in perhaps less than half the time) when a singer essays "Di quella pira."


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## Il_Penseroso (Nov 20, 2010)

*11. Favorite Act for Lyric Tenor*

I love the Aria *Il mio tesoro intanto*, but can't decide of any Act, I wish Don Ottavio could fully cover the whole Don Giovanni second act !


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## MAuer (Feb 6, 2011)

*12. Favorite Middle (i.e.: not first or last) Act in opera*

Act II, _Tosca_. Torture, attempted rape, murder . . . never a dull moment!


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## Desiree (Feb 11, 2012)

Act II of Il Trovatore


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## Chi_townPhilly (Apr 21, 2007)

*12. Favorite Middle (i.e.: not first or last) Act in opera*

It's so fresh on my mind- I'm normally a little cautious about answering these questions based on recent experiences... but I'll say Act II of _Götterdämmerung_.

In common with _Meistersinger_, Wagner didn't exactly hew to the premises of his theoretical texts, and indulged in some older-form operatic set-pieces like a _forte_ full-scale male chorus, and a concluding varying-verbiage trio.

I imagine him making his peace with his predecessors in these works...


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## CameraEye (Nov 18, 2011)

Il Trovatore (Act 2, Scene 1). I love the Anvil Chorus and the " Stride la vampa" and "Condotta ell'era in ceppi" arias.


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## Il_Penseroso (Nov 20, 2010)

*12. Favorite Middle (i.e.: not first or last) Act in opera*

Polish Act from Boris Godunov.


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## Nothung (Feb 9, 2012)

MAuer said:


> *12. Favorite Middle (i.e.: not first or last) Act in opera*
> 
> Act II, _Tosca_. Torture, attempted rape, murder . . . never a dull moment!


I'll have to agree here.


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## MAuer (Feb 6, 2011)

Looks like it's about time to move on to the next one:

*13. Favorite Act for supporting character(s)*

Act I, _Siegfried _(for Mime).


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## CameraEye (Nov 18, 2011)

*13. Favorite Act for supporting character(s)*

Act I, _La Boheme_


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## Chi_townPhilly (Apr 21, 2007)

*13. Favorite Act for supporting character(s)*

Act II of _Tristan und Isolde_.

Brangäne's Watch.

I don't think any further elaboration is needed...


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## MAuer (Feb 6, 2011)

It's nice to see this thread revived. I hope we'll get some more participants this time.


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