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Thread: The A to Z of opera; the unofficial OL community guide to opera

          
   
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  1. #226
    Senior Member Involved Member Floria's Avatar
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    I is for Iolanta
    Iolanta, (Russian: Иоланта) is a lyric opera in one act by Pyotr Tchaikovsky, his last. The libretto was written by the composer's brother Modest Tchaikovsky, and is based on the Danish play Kong Renés Datter (King René’s Daughter) by Henrik Hertz, a romanticised account of the life of Yolande de Bar. In the original Danish play, the spelling of the princess's name was "Iolanthe", which was a cause of confusion with the Gilbert and Sullivan operetta of that name.[1] The play was translated by Fyodor Miller and adapted by Vladimir Zotov. The opera received its premiere on 18 December 1892 in St. Petersburg.

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  2. #227
    Senior Member Top Contributor Member Clayton's Avatar
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    Nice post

    This has just gone into my shopping basket

    Tchaikovsky: Iolanta
    Anna Netrebko (Iolanta), Sergey Skorokhodov (Vaudémont), Monika Bohinec (Martha), Jun Ho You (Almerik), Lucas Meachem (Robert, Duke of Burgundy), Vitalij Kowaljow (René), Luka Debevec Mayer (Bertrand), Nuška Rojko (Laura), Theresa Plut (Brigitte), Vladislav Sulimski (Ibn Haki)
    Slovenian Philharmonic Orchestra, Emmanuel Villaume
    £17.50

    Scheduled for release on 5 January 2015

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  3. #228
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    I is for the tenor Robert Ilosfalvy, a mainstay of the Hungarian State Opera in the latter half of the 20th century who also appeared at a number of leading opera houses in the West (back in the days of the Iron Curtain).


  4. #229
    Senior Member Involved Member Floria's Avatar
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    I is for Tristan and Isolde

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  5. #230
    Senior Member Involved Member Floria's Avatar
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    I is for Mascangni'sIris

    Iris is an opera in three acts by Pietro Mascagni to an original Italian libretto by Luigi Illica. It premiered on 22 November 1898 at the Teatro Costanzi in Rome. The story is set in Japan during legendary times.

    The opera has three wonderful arias which span during the acts: the first is the well known tenor's serenade Apri la tua finestra (Open your windows), the second is the chorus number Inno al Sole (Hymn to the Sun) and the last one is the so-called "aria de la piovra" (Octopus aria): Un dì, ero piccina. In this last aria, Iris depicts a screen she had seen in a Buddhist temple, in her chilhood: an octopus coiling with tentacles around a young women

    The so-called "aria della piovra" ("Octopus aria"), "Un dì, ero piccina", where Iris describes a screen she had seen in a Buddhist temple when she was a child, depicting an octopus coiling with its tentacles around a young woman, may have been inspired by the print "The Dream of the Fisherman's Wife" (1814) by the Japanese artist Hokusai.

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  6. #231
    Senior Member Top Contributor Member Clayton's Avatar
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    another (very good) recording

    Name:  Iris - Giuseppe Patané 1988, Placido Domingo, Ilona Tokody, Juan Pons, Bonaldo Giaiotti.jpg
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    Ilona Tokody (Iris), Placido Domingo (Osaka), Juan Pons (Kyoto), Bonaldo Giaiotti (Il Cieco), Gabriella Ferroni (Dhia), Conchita Antuñano (Geisha), Sergio Tedesco (Il Cenciaiuolo), Heinrich Weber (Un Cenciaiuolo, Un Merciaiuolo)
    Chor Des Bayerischen Rundfunks, Münchner Rundfunkorchester
    Giuseppe Patané
    Studio recording (Studio One, Bayerischer Rundfunk) 1988

  7. #232
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    I is for Gluck's operas Iphigénie en Aulide and Iphigénie en Tauride, two of several works dealing with the Iphigenia myth (who was -- or wasn't -- sacrificed by her father Agamemnon to enable the Greek fleet to set off for war with Troy).

    From the latter opera, Carol Vaness sings the leading lady's aria, "Ô malheureuse Iphigénie."


  8. #233
    Senior Member Top Contributor Member Clayton's Avatar
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    I is for Irina Arkhipova

    a Russian mezzo-soprano (1925-2010), graduate of Moscow Institute of Architecture and Moscow conservatory.

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    An absolutely delicious voice that came I first heard as Lel/Spring in Rimsky-Korsakov's Snegurochka or the Snow Maiden (second favourite Rimsky-Korsakov opera) 1976 Vladimir Fedoseyev's recording with Moscow Radio. The other recording I have is The Tsar's Bride (third favourite), where she sings the role of Lyubasha (1975 Fuat Mansurov recording with Bolshoi opera). A melt the heart voice with warmth and humanity that contibutes significantly to these wonderful recordings.

    Name:  Snow Maiden - Vladmir Fedoseyev 1975, Valentina Sokolik, Irina Arkhipova, Anton Grigoryev, Lidya.jpg
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  9. #234
    Senior Member Top Contributor Member Clayton's Avatar
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    I is for Italian Opera Houses

    some pictures of a random selection

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    La Fenice, Venezia

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    Teatro comunale di Bologna

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    Teatro Lirico Giuseppe Verdi, Trieste

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    Teatro dell'Opera di Roma

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    Teatro di San Carlo, Napoli

    - - - Updated - - -

    and still no tickets to any performance for Clayton...

  10. #235
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    I is for the Georgian soprano Tamar Iveri, who found herself in a whole lot of hot water earlier this year when a virulently anti-gay letter directed to the President of Georgia appeared on her Facebook page in May, 2013. After she was canned by Opera Australia this past summer, she tried to do damage control by claiming it was actually her husband who was responsible for the objectionable post, and then gave a concert in Tblisi benefitting gay/lesbian organizations in the country. Whether her international career has been permanently damaged by this incident remains to be seen.


  11. #236
    Senior Member Involved Member Floria's Avatar
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    I is for Ingvar Wixell (7th May, 1931 - 8th October, 2011)

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    Ingvar Wixell was a Swedish opera singer who was greatly appreciated for his baritone. His repertoire included roles such as, Rigoletto, Amonasro from Aida, baritone roles of Mozart such as Don Giovanni, Le Nozze di Figaro's Count Almaviva, Eugene Onegin by Tchaikovsky, and Germont from La Traviata.

    He made his operatic debut at the Swedish Royal Opera in 1955, wherein he performed as Papageno from The Magic Flute by Mozart. He made his debut at the London, Royal Opera in 1960 and played the title role of Simon Boccanegra by Giuseppe Verdi. He performed in America in 1967 at the San Francisco Opera and performed as Belcore from L'elisir d'amore by Donizetti. In the same year, he was engaged by The Deutsche Oper Berlin where he continued to perform for the next three decades. In 1973, he had arrived at the Metropolitan Opera, where he performed the tile role of Rigoletto by Verdi. He performed for six seasons with the Metropolitan Opera.

  12. #237
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Quote Originally Posted by MAuer View Post
    I is for the Georgian soprano Tamar Iveri, who found herself in a whole lot of hot water earlier this year when a virulently anti-gay letter directed to the President of Georgia appeared on her Facebook page in May, 2013. After she was canned by Opera Australia this past summer, she tried to do damage control by claiming it was actually her husband who was responsible for the objectionable post, and then gave a concert in Tblisi benefitting gay/lesbian organizations in the country. Whether her international career has been permanently damaged by this incident remains to be seen.

    What did she do regarding her husband? Does she need a new husband? Given her nice looks maybe there will be candidates. Our good Amfortas has mentioned that if he gets to interview nice-looking sopranos, the interview might end in a marriage proposal, so maybe we should send him to Georgia to interview Ms. Iveri, which might solve Amfortas' need for a wife, and Ms. Iveri's need for a non-gay-hating husband in order to restart her career.
    -------
    I got curious and looked it all up. La Monnaie has dropped her from their 2015 Ballo as well (and previously Opéra National de Paris had done it too), and her "upcoming schedule" has nothing beyond the Opera Australia Otello in Sidney and Tosca in Melbourne, and neither one was upheld by the company, so, I guess at this point she is unemployed. It also looks like she only claimed her husband's authorship several months into the controversy and he never quite confirmed that he was indeed the author of the post, so... it does seem suspicious. "However, in an interview in September last year, she defended the letter, didn’t deny writing it, and added that her husband supported her views." Also, the excuse she initially gave for writing the letter, that is, that she was merely concerned about possible violence given that a gay parade had been scheduled for the same day a religious orthodox event was happening in the same neighborhood, has been debunked as a fabrication, since the two events happened in separate days.

    I've read the full letter (two and a half pages) and it is indeed a bigoted rambling mess. So, career suicide...
    -------
    OK, Amfortas, maybe you shouldn't marry her, after all.
    -------
    She was at the Met in 2008 in La Clemenza di Tito in the role of Vitellia, with Susan Graham and Ramon Vargas.
    Last edited by Luiz Gazzola (Almaviva); December 29th, 2014 at 07:45 PM.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  13. #238
    Opera Lively Moderator Top Contributor Member Amfortas's Avatar
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    Quote Originally Posted by Luiz Gazzola (Almaviva) View Post
    OK, Amfortas, maybe you shouldn't marry her, after all.
    Thank you for clearing that up.

  14. #239
    Senior Member Top Contributor Member Clayton's Avatar
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    J is for Le Jongleur de Notre-Dame

    the 26th opera written by Jules Émile Frédéric Massenet (1842-1912) which had its premiere at the Monte Carlo Opéra 18 February 1902. It is called a Miracle in 3 acts and written to a libretto by Maurice Léna based on a medieval legend.

    Very simply it is a tale of a poor starving juggler in the 14th century who finds refuge in the Abbey of Cluny on the suggestion of the Prior. Jean the Juggler seeks advice from Boniface, the monastery cook and consequently finds enlightenment though juggling (himself to death). The story may sound weak in my very brief account (actually there is not really much more to it) but told through this music is quite profound. The music that carries the story is much greater than that though and is rich but not overpowering, with hints of sacred music and light comic story telling that is wonderful.

    It is my favoutite Massenet opera and apparently was his too.

    "J’écris une pièce, unde légende, un conte en musique, appelez-le
    Comme vous voudrez, où il n’y a pas un seul role de femme!
    Pas un, entendez-vous, pas le plus petit role de femme…
    J’approche de la fin, et depuis quelques jours, je sens, je sais
    à coup sûr que Le Jongleur de Notre-Dame sera mon chef-d’oeuvre"
    Jules Massenet


    There is a very good recording (live but very good sound and no distracting noise) on DG with Alagna, in his finest form

    Massenet: Le Jongleur de Notre-Dame
    Roberto Alagna, Stefano Antonucci & Francesco Ellero d’Artegna
    Orchestre National de Montpellier Languedoc Roussillon, Enrique Diemecke
    Recorded February 2007 at Montpellier

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  15. #240
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Quote Originally Posted by Clayton View Post
    où il n’y a pas un seul role de femme!
    Pas un, entendez-vous, pas le plus petit role de femme…
    All right, not for me, then!
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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