# Special Moments



## Op.123 (Mar 25, 2013)

Do you have any favourite moments in an opera? I'm not talking about arias or scenes but just those single phrases that when interpreted well can be just as affecting as a whole aria. Occasional moments which take your breath away. 

For example:
La Traviata - Act 2: "Oh, come dolce mi suona il vostro accento!" (Oh, how sweet to hear those words from you!)
Tosca - Act 3: "Gli occhi ti chiuderò con mille baci e mille ti dirò nomi d'amor." (I shall close your eyes with a thousand kisses and call you by a thousand names of love.)
Aida - Act 3: "O patria! o patria...quanto mi costi!" (O homeland, what a price I must pay, for you!)
Das Wunder der Heliane - Act 2: "So tat ich’s, damit sein armes aug noch liebe könne sehen, ehe dass es bräche." (I did so, that his poor eyes could see love before they closed.)
Salome: "Die Rosen im Garten von Arabiens Königin sind nicht so weiss wie dein Leib." (The roses in the garden of the Queen of Arabia are not so white as thy body.)


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## nina foresti (Mar 11, 2014)

Goosebump heaven: 
1. "Ahhh! Mascordata!!" as sung by Renata Scotto in "Madama Butterfly"
2.Minnie's "Tre assi e un paio!" as sung by Renata Tebaldi in "La fanciulla del west"
3. The single final chord at the end of "Dialogues des Carmelites"
4. "Son Io" of Andrea Chenier and Idia Legray in "Andrea Chenier"
5. The telephone ringing insistently as the orchestra plays heavy chords in the last scene of "The Consul"
6. The end of the tragic Duel Scene in "Eugene Onegin"
7. The "Vorspiel" of "Parsifal"
8. Prologue of "Mefistofele"
9. Rodolfo singing "L'esperanza" in 'Che gelida manina" from "La boheme"
10. "disciogliea dai veli!" as sung by Franco Corelli in the Parma "Tosca"


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## Annied (Apr 27, 2017)

I give up! I've just lost a couple of hours trying to find the line in "Giovanna d'Arco", sung by Vladimir Chernov that I like so much. All I've written down is that it's in the second act and he's singing with June Anderson. (It was a recording of a 1996 ROH performance that went out on Radio 3). It's a wonderfully flowing long line delivered seamlessly, twice, and takes my breath away every time I hear it. I can't make out the words when I play it and, having googled the libretto, I can't find anything within it that fits either.

The other one that springs immediately to mind is a José Carreras "Qual occhio al mondo" from "Tosca" on the Philips 1976 recording for exactly the same reasons.

Sadly, just as Chernov was coming into his best years as a performer, Carreras was beginning to leave his behind him. Hearing the 2 perform together when both were at their peaks would have been my idea of heaven!


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## Tsaraslondon (Nov 7, 2013)

Callas was the mistress of making a line of recitative, or even just a word, suddenly spring out in sharp relief, so that you felt you'd never heard it before. There are countless examples in every role she sang; moments that would go past unnoticed with most singers, but took on a significance and importance that we usually don't hear.

One example I would give is how she makes the line _Egli e luce ai giorni miei_ in the linking recitative between _Regnava nel silenzio_ and _Spargi d'amaro pianto_ in *Lucia di Lammermoor* a blazing affirmation of her love, or the way, in the ensuing duet, she already suggests Lucia's fragile state of mind when she sings, with a voice palpitating with emotion, _Ah no! rimango nel silenzio sepolto per or l'arcano affetto._.

I could fill pages and pages with many such moments in each of the roles she sang.

Gobbi could do this too. I think of the way he sings the single word _Amelia_ in the Votto recording of *Un Ballo in Maschera*, when he discovers the identity of Riccardo's tryst, so full of the conflicting emotions which besiege him, or the nonchalantly unconcerned way he sings _la povera mia cena fu interotta_ in Act II of *Tosca* after the fracas which leads up to Cavaradossi being dragged off to be tortured. These are just two instances of many.

The Marschallin's _in Gottes Namen_ at the end of the Trio and her final _Ja, ja_ as sung by Schwarzkopf in Karajan's EMI recording.

In fact most of my favourite singers had this quality. Merely beautiful singing doesn't really touch me. It has to be beautifully _expressed_.


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## brunumb (Dec 8, 2017)

Götterdämmerung- Brünnhilde's Immolation: "Ruhe, ruhe, du Gott!" (Nilsson/VPO/Solti)


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## The Conte (May 31, 2015)

GregMitchell said:


> Callas was the mistress of making a line of recitative, or even just a word, suddenly spring out in sharp relief, so that you felt you'd never heard it before. There are countless examples in every role she sang; moments that would go past unnoticed with most singers, but took on a significance and importance that we usually don't hear.
> 
> One example I would give is how she makes the line _Egli e luce ai giorni miei_ in the linking recitative between _Regnava nel silenzio_ and _Spargi d'amaro pianto_ in *Lucia di Lammermoor* a blazing affirmation of her love, or the way, in the ensuing duet, she already suggests Lucia's fragile state of mind when she sings, with a voice palpitating with emotion, _Ah no! rimango nel silenzio sepolto per or l'arcano affetto._.
> 
> ...


I agree 100% with all this. Another Callas moment, that is extraordinary because it comes in a role that she never performed on stage is the line 'la crema' in act two of La boheme. At Cafe Momus Mimi is asked what she would like to have (by Rodolfo?) and all she wants is a bowl of custard. There is nothing significant or interesting about this line, it really is a thing of nothing. However, Callas sings it with hesitant simplicity that sums up Mimi as a character, as if she feels that she is Rodolfo's guest and doesn't want to embarrass him in front of his friends or empty his pockets and so hopes that her modest request isn't overstepping the bounds (meanwhile the other bohemians are ordering a rich menu of luxuries). You could write a whole essay on how Callas articulates those three simple syllables and how they reveal her conception of Puccini's Mimi.

One small thing about your post in the interests of accuracy the cabaletta to _Regnava nel silenzio_ is _Quando rapita in estasi_ not _Spargi d'amaro pianto_, which is the cabaletta to the mad scene.

N.


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## Tsaraslondon (Nov 7, 2013)

The Conte said:


> I agree 100% with all this. Another Callas moment, that is extraordinary because it comes in a role that she never performed on stage is the line 'la crema' in act two of La boheme. At Cafe Momus Mimi is asked what she would like to have (by Rodolfo?) and all she wants is a bowl of custard. There is nothing significant or interesting about this line, it really is a thing of nothing. However, Callas sings it with hesitant simplicity that sums up Mimi as a character, as if she feels that she is Rodolfo's guest and doesn't want to embarrass him in front of his friends or empty his pockets and so hopes that her modest request isn't overstepping the bounds (meanwhile the other bohemians are ordering a rich menu of luxuries). You could write a whole essay on how Callas articulates those three simple syllables and how they reveal her conception of Puccini's Mimi.
> 
> One small thing about your post in the interests of accuracy the cabaletta to _Regnava nel silenzio_ is _Quando rapita in estasi_ not _Spargi d'amaro pianto_, which is the cabaletta to the mad scene.
> 
> N.


Oops! I know that of course. My brain was obviously elsewhere as I wrote it 

I totally agree with you about that moment in _La Bohème_, and also note how cleverly she mirrors the voice of the child who, just before her line, petulantly asks for the horn and the toy horse and whose short phrase is echoed in the orchestra after she sings the words _la crema_.

There is another moment in *La Bohème* that does it for me too. In Act III, when Marcello tells her he will go and wake Rodolfo, she sings the single word _Dorme?_ with the gentlest of upward _portamenti_ and it is filled with so much love and tender concern for him that it always brings a lump to my throat. No other Mimi does that, not even those singers more naturally suited to the role, like De Los Angeles and Freni.

But, as I say, with Callas it is always such moments that stand out in relief. She always gave as much importance to seemingly inconsequential moments as she did to the big arias.


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## DavidA (Dec 14, 2012)

To me a special moment in Boheme is the duet in Act 1 "O Suavi Fanculla".

No-one does it as well as Freni and Pavorotti for Karajan


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## Tsaraslondon (Nov 7, 2013)

DavidA said:


> To me a special moment in Boheme is the duet in Act 1 "O Suavi Fanculla".
> 
> No-one does it as well as Freni and Pavorotti for Karajan


Well yes, but I don't think it's quite what the OP was talking about. The duet is a piece that can be, and often is, performed on its own and out of context. It's not really a moment as defined by Op.123


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## les24preludes (May 1, 2018)

The moment when the fox is shot in The Cunning Little Vixen, Janacek.


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## howlingfantods (Jul 27, 2015)

I'm sure if I thought about it long enough, I could probably come up with dozens from most of the operas in my heavy rotation.

Still, the first ones that popped into my head are these--some of them because I've been listening to them over the past few days

- Pelleas - part of the instrumental interlude between the second and third scenes in Act 4, after Golaud has raged against Melisande, and before the scene at the well with Yniold, from around 30 seconds in to around a minute in. it's a tiny part of a short interlude that is dripping with doom.

- The very end of the first act of Fanciulla. I'd actually say the entire last 15 minutes or so, from "Mister Johnson, siete rimasto indietro" on is among the most beautiful passages Puccini ever wrote, but in particular the last few minutes, starting from "I ragazzi saranno qui fra poco", and most especially the last notes and the sigh on the repetition of "Un viso d'angiolo!"

- these from Die Walkure - after Fricka has forced Wotan to swear to let Siegmund die- "Nimm' den Eid", then the short rising instrumental interlude--never repeated. Then Sieglinde's "O hehrstes Wunder! Herrlichste Maid!", the Redemption through Love motif that is repeated at the very end of Gotterdammerung.

This entire passage from Wotan, foreseeing his own fall, especially the line "das Ende, das Ende":

Fahre denn hin, herrische Pracht,
göttlichen Prunkes prahlende Schmach!
Zusammen breche was ich gebaut!
Auf geb' ich mein Werk; nur Eines will ich noch:
das Ende, das Ende!

- Siegfried in act 3 of Gotterdammerung, remembering and recounting the events of his titular opera. I especially like the moment when Hagen mocks Mime's death, "Was nicht er geschmiedet schmeckte doch Mime!" even more so when remembering that Mime is Hagen's uncle.

- I've always loved the horns that play right after Rodrigo gets shot in Don Carlo--it sounds like a New Orleans funeral procession to me. And the often cut "Chi rende a me quest'uom?", the music that was cut and recycled for the Lacrimosa from the Requiem 

- Parsifal - Kundry describing seeing Christ on the cross--"Ich sah - Ihn - Ihn - und - lachte"

- after starting with one jealous and murderous husband, I'll end this list with another--Otello throwing Desdemona on the ground, "A terra!... e piangi!" This snippet always reminds me a little of Vesti la Giubba.


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## Woodduck (Mar 17, 2014)

Two of my favorite moments from _Tristan_ are from Act 1: Isolde's "Mir erkoren, mir verloren..." ("Chosen for me, lost to me...") and her description of how she felt when, about to strike Tristan, he gazed at her from his bed: "Er sah mir in die Auge. Seines Elendes jammerte mich..." ("He looked into my eyes. I pitied his wretchedness...") In these moments of confession the rage and irony behind which the wronged princess conceals her pain fall away. No singer and conductor have brought to these moments such inwardness and dark beauty as Flagstad and Furtwangler on their classic recording.

It seems to me that the quiet moments in this seething, passionate score are all quite special. They're shelters from the storm, and they give us intimate glimpses into the sorrow at the heart of an impossible love.


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## nina foresti (Mar 11, 2014)

*Mefistofele* 3rd act ending when Margherita exclaims to Faust: "Enrico, mi fai ribrezzo!!" (you disgust me)
Especially as done by Magda Olivero. Goosebump heaven.


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## Sloe (May 9, 2014)

I have to say that I like the moment in Tristan und Isolde in first act were Isolde sings LUFT LUFT. Final duet of the second act of Giordano's Siberia with a bit operagasm with Sonya Yoncheva as Stefana i honestly think she sings very beautiful. M'ascordAAATTAAAA in Madama Butterfly and when Butterfly sees when Pinkertons ship is arriving first with Saekyung Rim the other with both Saekyung Rim and also Hui He. The death of Butterfly with Saekyung Rim I think she is the only Cio-Cio San that gives a really emotionell impact of Butterflys death scene. In the opening of the third act of La Boheme were Mimi sings about her problems with Rodolfo to Marcelo sung by Etik Sunakawa makes me emotional. When Musetta played by Nobuko Takahashi prays for the dying Mimi it strikes me. When Aida as played by Hui He pleas to the Pharao to release her father I feel an emotion. Hope noone thinks I have bad taste. And if you do please don't say and forget what I rwmble about. But if you know me you would guess that
I think this anyway.


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## Annied (Apr 27, 2017)

Sloe said:


> I have to say that I like the moment in Tristan und Isolde in first act were Isolde sings LUFT LUFT. Final duet of the second act of Giordano's Siberia with a bit operagasm with Sonya Yoncheva as Stefana i honestly think she sings very beautiful. M'ascordAAATTAAAA in Madama Butterfly and when Butterfly sees when Pinkertons ship is arriving first with Saekyung Rim the other with both Saekyung Rim and also Hui He. The death of Butterfly with Saekyung Rim I think she is the only Cio-Cio San that gives a really emotionell impact of Butterflys death scene. In the opening of the third act of La Boheme were Mimi sings about her problems with Rodolfo to Marcelo sung by Etik Sunakawa makes me emotional. When Musetta played by Nobuko Takahashi prays for the dying Mimi it strikes me. When Aida as played by Hui He pleas to the Pharao to release her father I feel an emotion. *Hope noone thinks I have bad taste*. And if you do please don't say and forget what I rwmble about. But if you know me you would guess that
> I think this anyway.


Of course you don't! Music is very subjective, what one person likes, another doesn't. Neither of you are wrong, you just have different tastes.


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## Sloe (May 9, 2014)

Annied said:


> Of course you don't! Music is very subjective, what one person likes, another doesn't. Neither of you are wrong, you just have different tastes.


Thank you so much. I have wanted to say these things so long. 
When Elektra sings Agamemnon in her first alone scene and the sings about her father was murdered. I Think it is also special.Preferrably with Astrid Varnay or Birgit Nilsson.


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## Bonetan (Dec 22, 2016)

Brünnhilde's last phrase leading into Wotan's Farewell always gives me goosebumps


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## Woodduck (Mar 17, 2014)

Bonetan said:


> Brünnhilde's last phrase leading into Wotan's Farewell always gives me goosebumps


And the goosebumps continue to the end, with too many glorious moments to mention.


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## Bonetan (Dec 22, 2016)

Woodduck said:


> And the goosebumps continue to the end, with too many glorious moments to mention.


Ain't that the truth!!


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## Thomyum2 (Apr 18, 2018)

I think for me, the most emotional moment in all opera is in Act III of La Boheme, when Rodolfo discovers that Mimi has been listening as he has been admitting to Marcello that the real reason he left her was that he was so fearful of her poor health.


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