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Thread: Opera characters that really annoy you

          
   
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    Opera characters that really annoy you

    I'm gonna show my really mean side now, but there are some characters that really do my head in, I'll start with two and see how the thread goes:

    [SPOILERS]

    1. Dido (Dido and Aeneas)

    Dream mezzo role? Why cause you're playing a lead role? (And? So is Rosina if you've got light coloratura, Carmen if you're a mezzo with a dark timbre, and Dorabella for the lyric mezzos, and about 50 more) I know it's only a few days in her life but she MOANS CONSTANTLY so by the time she dies your patience level with her is like zero because you're so emotionally drained.

    2. Micaëla (Carmen)

    Yawwwwwwwn. I know, she's 17 and innocent, but for God's sake. Every time I see her I'm thinking 'yeah you've got a lovely voice, but where's Carmen gone?' I know she's a contrast character but can they stop trying to make her look buck-toothed and dowdy as well? Just because she's not a seductress, it doesn't mean she's dowdy.


    Which characters annoy you?

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    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Well, a character I can't stand to the point that it hinders my appreciation of an otherwise good opera, is Werther. I usually want to yell at him, "will you kill yourself already and be done with it, and leave us alone, please?" What a wimp! Yeah, yeah, I understand the Romantics and their fascination with death, but enough is enough.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    Siegfried is an obnoxious brat. I can tolerate him in the Barenboim and Levine Rings because enough of Siegfried Jerusalem's own amiable personality comes through. Okay, Mime won't win any Foster Parent of the Year awards, but what's up with the Wanderer? (Though I can't say I find Wotan a terribly appealing character, either.)

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    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Pinkerton the paedophile cad makes me want to vomit.

    Sarastro is pompous and smug, and what's up with leaving Pamina in the clutches of an obviously priapic Monostatos?

    Elvino from Sonnambula is a fickle idiot. Amina would be better running off with the count, who I've always rather fancied.

    I really dislike Don Alfonso the cruel puppet-master in Cosi. Way to destroy four lives.
    Last edited by Soave_Fanciulla; September 10th, 2013 at 08:47 PM.
    Natalie

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    Both Pamina's parents are a bit suspect but one has an F6 to sing so she becomes instantly epic

    Escamillo (Carmen)

    I've sung the whole toreador song on the word 'tosser' before. He's only arrogant though, so he classes as mildly annoying...

    The whole of Cosi kinda bothers me and if it wasn't for the fact I like the music I probably wouldn't watch it. Anke Vondung's Dorabella is quite sweet though.

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    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    I keep hoping that Violetta will run into Scarpia by accident ..

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    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Quote Originally Posted by Soave_Fanciulla View Post

    I really dislike Don Alfonso the cruel puppet-master in Cosi. Way to destroy four lives.
    Well, today we got a very insightful interview with a Don Alfonso which might change your mind:

    http://operalively.com/forums/conten...Don-Alfonso%29
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Quote Originally Posted by PoloniumCyanide View Post

    The whole of Cosi kinda bothers me and if it wasn't for the fact I like the music I probably wouldn't watch it. Anke Vondung's Dorabella is quite sweet though.
    I think that the idea that Così is misogynistic (if that's why you dislike it) is really unfair to the piece. I actually don't think it is misogynistic at all. There's more to it than what can be inferred on surface. Some of the points made in this interview support this view:

    http://operalively.com/forums/conten...Don-Alfonso%29
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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    I actually like Don Alfonso, I don't like the story though, only because I feel the farce element doesn't work as well as it could...The Albanians? The suicide fakery? Really? Bit extreme. I'm not saying anything bad about the piece, in fact Dorabella and Despina are two of the coolest parts a lyric mezzo can have in my opinion... BUT as much as I understand the theme of becoming wiser and more realistic rather than idealising one's partner and the concept of love, the plot doesn't thrill me.

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    Gilda in Rigoletto. She have discovered that the duke is a jerk who obviously don´t care for her and sacrifice herself anyway to save the duke.

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    Opera Lively Moderator Top Contributor Member Amfortas's Avatar
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    Quote Originally Posted by Ingvar View Post
    Gilda in Rigoletto. She have discovered that the duke is a jerk who obviously don´t care for her and sacrifice herself anyway to save the duke.
    At a realistic level, I agree it can seem unbelievable and annoying. But symbolically, I think it works.

    I've always seen Rigoletto as an opera about walls. There's the wall the courtiers dupe Rigoletto into helping them scale as they kidnap his daughter. There's the wall separating the singers in the famous quartet. Most importantly, there's the wall Rigoletto himself desperately tries to maintain between the two halves of his psyche--his belief in himself as an innocent, abused victim, and his cruel, twisted delight in other people's suffering.

    In that sense, Gilda and the Duke are reflections of these respective halves: the pure, innocent angel he keeps locked away at home; the lascivious devil whose dirty work he carries out at court. Rigoletto's tragic error lies in thinking he can keep the two sides separate, without suffering any consequences. But just as the walls of his psyche can only crumble, so the two key figures in his life are inevitably drawn to one another, breaching the walls he has set up between them. In the end, Rigoletto's true tragedy is that his own dark side has destroyed his last illusion of innocence.
    Last edited by Amfortas; March 17th, 2015 at 10:21 PM.

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    Senior Member Involved Member Floria's Avatar
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    Quote Originally Posted by PoloniumCyanide View Post

    2. Micaëla (Carmen)

    Yawwwwwwwn. I know, she's 17 and innocent, but for God's sake. Every time I see her I'm thinking 'yeah you've got a lovely voice, but where's Carmen gone?' I know she's a contrast character but can they stop trying to make her look buck-toothed and dowdy as well? Just because she's not a seductress, it doesn't mean she's dowdy.
    Also, the blond wig on Micaëla always looks so bad.

  13. #13
    Opera Lively Moderator Top Contributor Member Amfortas's Avatar
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    Quote Originally Posted by PoloniumCyanide View Post
    2. Micaëla (Carmen)

    Yawwwwwwwn. I know, she's 17 and innocent, but for God's sake. Every time I see her I'm thinking 'yeah you've got a lovely voice, but where's Carmen gone?' I know she's a contrast character but can they stop trying to make her look buck-toothed and dowdy as well? Just because she's not a seductress, it doesn't mean she's dowdy.
    I think she should look the way she sings: heart-meltingly beautiful. That way, Don José's rejection of her for the sultry eroticism of Carmen seems an even more perverse and reckless choice.

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    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Quote Originally Posted by Amfortas View Post
    I think she should look the way she sings: heart-meltingly beautiful. That way, Don José's rejection of her for the sultry eroticism of Carmen seems an even more perverse and reckless choice.
    The last Carmen I saw, Micaela was the very beautiful Ailyn Perez.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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    Preziosilla in Forza with that abominable Rataplan chorus!!

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