View Poll Results: Rossini's favourite opera

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19. You may not vote on this poll
  • La scala di seta

    0 0%
  • La pietra del paragone

    0 0%
  • L'occasione fa il ladro

    0 0%
  • Il signor Bruschino

    1 5.26%
  • Tancredi

    1 5.26%
  • L'Italiana in Algeri

    5 26.32%
  • Il Turco in Italia

    2 10.53%
  • Elisabetta, regina d'Inghilterra

    0 0%
  • Il Barbiere di Siviglia

    13 68.42%
  • Otello

    1 5.26%
  • La Cenerentola

    8 42.11%
  • La gazza ladra

    1 5.26%
  • Armida

    0 0%
  • Mosè in Egitto

    0 0%
  • Ermione

    1 5.26%
  • La donna del lago

    4 21.05%
  • Bianca e Falliero

    0 0%
  • Maometto secondo

    1 5.26%
  • Matilde di Shabran

    0 0%
  • Zelmira

    0 0%
  • Semiramide

    5 26.32%
  • Il Viaggo a Reims

    3 15.79%
  • Le Siège de Corinthe

    0 0%
  • Le Comte Ory

    3 15.79%
  • Guillaume Tell

    0 0%
Multiple Choice Poll.
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Results 16 to 24 of 24

Thread: Our preferred Rossini opera

          
   
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  1. #16
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Interesting. Would Plácido be able to sing well this role, since he's been doing incursions in baritone territory?
    Definitely this Charles Workman in that Pesaro production wasn't this good - but I guess it's a very difficult role to cast.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  2. #17
    Schigolch
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    No, he wouldn't at this stage of his career.

    The role is difficult to cast well.

    About Rossinian tenors, they are usually divided in two big groups: the "baritenore" (Leicester, Otello, Rinaldo, Pirro, Rodrigo,..) and "contraltino" (many others), that is more at ease with the top notes, and is able to perform more extended and difficult coloratura. Giovanni David was the best known 'contraltino' in Rossini's times. And there are also some roles in between both types, like Argirio.

  3. #18
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Quote Originally Posted by Schigolch View Post
    No, he wouldn't at this stage of his career.

    The role is difficult to cast well.

    About Rossinian tenors, they are usually divided in two big groups: the "baritenore" (Leicester, Otello, Rinaldo, Pirro, Rodrigo,..) and "contraltino" (many others), that is more at ease with the top notes, and is able to perform more extended and difficult coloratura. Giovanni David was the best known 'contraltino' in Rossini's times. And there are also some roles in between both types, like Argirio.
    Thanks. We're always learning new things from you, Schigolch.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  4. #19
    Senior Member Top Contributor Member HarpsichordConcerto's Avatar
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    He wrote so many. I have yet come across a seriously dud one.

  5. #20
    Senior Member Top Contributor Member Dark_Angel's Avatar
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    Quote Originally Posted by Almaviva View Post
    Thanks. We're always learning new things from you, Schigolch.
    Schigs is our opera professor.....we learn stuff every day, class in session

  6. #21
    Staff Writer & Reviewer - Life-time Donor Veteran Member Jephtha's Avatar
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    I chose Il viaggio a Reims. I have had a soft spot for this work ever since I was chosen to perform the flute obbligato to Lord Sidney's aria in the American premiere in St. Louis in 1986. While it was very exciting (and nerve-wracking!) to be a part of this event, I was even more excited by the presence of the great Rossini scholar Philip Gossett, who actually took a curtain call with all the rest of us on opening night! Anyway, the music to this opera is sublime, even if it IS recycled from Le comte Ory (or is it the other way round?).

  7. #22
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Quote Originally Posted by Jephtha View Post
    I chose Il viaggio a Reims. I have had a soft spot for this work ever since I was chosen to perform the flute obbligato to Lord Sidney's aria in the American premiere in St. Louis in 1986. While it was very exciting (and nerve-wracking!) to be a part of this event, I was even more excited by the presence of the great Rossini scholar Philip Gossett, who actually took a curtain call with all the rest of us on opening night! Anyway, the music to this opera is sublime, even if it IS recycled from Le comte Ory (or is it the other way round?).
    I can remember when the CD version first came out - the fun of it, particularly Don Profondo's hilarious medaglie incomparabili aria.
    Natalie

  8. #23
    Banned Top Contributor Member
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    Quote Originally Posted by Soave_Fanciulla View Post
    I can remember when the CD version first came out - the fun of it, particularly Don Profondo's hilarious medaglie incomparabili aria.
    Doesn't it sound much better in Comte Ory arrangement, as aria of Verlaine?

  9. #24
    Senior Member Top Contributor Member Florestan's Avatar
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    Mainly I prefer Il Barbiere di Siviglia, but also La gazza ladra and La Cenerentola.
    "Music is enought for a whole lifetime--but a lifetime is not enough for music." --Sergei Vasilyevich Rachmaninoff

  10. Likes MAuer, Ann Lander (sospiro) liked this post
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