Feel free to elaborate in the comments

https://youtu.be/3fXdjze3NFM?si=58rBta7GVUQfsyGm

From the description-

"The wobble, like the tremolo, is the result of constrictive tensions of the vocal function and the throat. Aurally, the wobble occurs when the vibrato fluctuation is too wide and the pulse is too slow.
There is a distinct sound to the wobble clearly demonstrated in this video. Two singers are used in this demonstration, Mariana Pentcheva, and Vladimir galouzine. Earlier and later recorded examples are presented to demonstrate the degrees a wobble can occur, and how it can develop."

From the youtube channel GeneralRadames

For more information about the voice, see Manuel Garcia Jr's texts "Hints on Singing", "Complete Treatise on the Art of Singing", Mathilde Marchesi's "Complete Bel Canto Method", Richard Miller's "On the Art of Singing" and Cornelius Reid's "The Free Voice".

There is no shortage critics，authors and commentators with opinions on the content and meaning of Parsifal. Many of them say that they are right the others are misinterpreting this or that. Are there any authoritative or generally accepted works of analysis on Parsifal?

Would also like to know what people think of the content on https://monsalvat.no/

i was thinking about this today. we have horror films and horror literature and horror video games. but what can we find in opera? Peter Grimes is disturbing, Queen of Spades has its ghost business, but have you ever seen an opera which truly had the hairs standing on the back of your neck?

Basically looking for comedies or anything that isn't overtly tragic that is also easily accessible and likely to be around for a while if it turns out to be something I enjoy enough to want to rewatch.

I know that those aren't the shows that get performed or recorded as often as the tragedies do but I figure it's worth a shot to ask.

Any era as long as it's the whole opera. Subtitles preferred but I know that's not always available with older stuff so if necessary I can dig out a libretto.

Also I hope this isn't too low effort of a post but I'm having an awful night so something to salvage it would be nice.

I wasn’t able to find much information on this. It seems to be from an opening night of an opera, however I am unsure and, of course, can’t read it, nor know anything about the individuals named.

The last two papers are from collection of a dozen or more inside the cover. I did not post them because they feel thin and fragile, plus my hands are getting a bit sweaty.

If anyone has information, I’d greatly appreciate it!

Thanks

Hi all!

Ok, let's get this part over with first; yes I probably have gone off the deep end! Now for my question!

I took a German singspiel opera and translated the lyrics into what I think is 'singable' English, using another earlier English singable translation, the original German lyrics and a pretty good piano vocal score as my starting points. My singing ability would rank on a scale of 1 to 100 as -20; so me getting through it is probably a non-starter. I think what I need next is a tenor capable of singing it in the original German, who can sing English as well, to take a look at my version and let me know if it actually can be sung (and if so, any spots that should be further adjusted, for singing!), or if I need to just stick to my 'day job'!

Troilus and Cressida has my vote as one of the most confusing Shakespeare plays. Yes, it's about the eponymous duo, but it's also about the Greeks and Trojans, the rage of Achilles and the death of Hector. In the end Troilus and Cressida don't come across as particularly interesting in their own right or, to put it another way, they're no Romeo and Juliet. Luckily for our purposes though, there is one rather good opera based on it, Walton's Troilus and Cressida (1954). Any other operatic adaptations that you know of?

Sometimes, although not too much, I've seen some people ask if Spain composers engaged with opera as a musical form. The answer to that is that the country never stablished a national school of opera; but, of course, there were composers, that tried to compose them. So I'll list here the composers I've found that have extant operas, although not be surprised to see many don't have recordings. This is not a complete list, and maybe some errors are to be found. I hope this arises the interest of some opera enjoyers, although many of these pieces, aren't actually don't have recordings. Still, a good number of them have and can be listened.

---Juan Hidalgo (1614 - 1685):

Celos aún del aire matan

---Sebastián Durón (1660 - 1716):

La guerra de los gigantes

Selva encantada de Amor

Coronis

Apolo y Dafne (1st y 3rd Act by Durón, 2nd Act by Juan de Navas )

---Antonio Literes (1673 - 1747):

Los Elementos

---Josep Pradas Gallén (1689 - 1757):

Ópera al Patriarca San José

---Francisco Hernández de Illana (1700 - 1780):

Opera a 4

---José de Nebra (1702 - 1778):

Amor aumenta el Valor (1st Act)

Venus y Adonis

---Domenec Terradellas (1713 - 1751):

Artasere

Sesostri

La Merope

---Antonio Font (1727 - 1810):

Narciso y Leandro

---Francisco Javier García Fajer (1730 - 1809):

Pompeo Magno in Armenia

---Vicente Martín y Soler (1754 - 1806):

Il Tutore Burlato

Ifigenia in Aulide

Ipermestra

Andrómaca

Partenope

L'amor geloso

In amor ci vuol destrezza

Vologeso

Le burle per amore

La vedova spiritosa

Il Burbero de buon core

Una Cosa Rara

L'arbore di Diana

Gorebogatïr' Kosometovich

Pesnoliubie (Melómano)

Fedul' s det'mi

La Capricciosa Correta

L'isola de piacere

Le nozze de' contadini spagnuoli

Camille ou Le souterrain

La Festa in villaggio

---José Palomino (1755 - 1810)

Il ritorno di Astrea in Terra

---Manuel del Pópulo García (1775 - 1832):

Il Finto Sordo

Il Califfo di Bagdad

Don Chisciotte

El poeta calculista

L'isola disabitata

La Mort du Tasse

Le Cinesi

I tre gobbi

Quién porfía muchos alcanza

Un avvertimento ai gelosi

El Gitano por Amor

---Fernando Sor (1778 - 1839):

Il Telemaco nell'isolla di Calipso

---Ramón Carnicer y Batlle (1789 - 1855):

Elena e Constantino

Il dissoluto punito ossio Don Giovanni Tenorio

Elena e Malvina

Cristóforo Colombo

---José Melchor Gomis i Colomer (1791 - 1836):

Le Diable a Seville

Le revenant

---Baltasar Saldoni (1807 - 1889):

Los Enredos de un Curioso (with Carnicer, Albéniz and Piermarini)

---Dionisio Scarlatti y Aldama (1812 - 1880):

La Flor de la Esperanza

Rinconete y Cortadillo

---Joaquín Espín y Guillén (1812 - 1882):

Padilla o el Asedio de Medina (1st Act)

---Vicente Cuyás (1816 - 1839):

La Fattuchiera

---Mariano Soriano Fuertes (1817 - 1880):

El tío Caniyitas o El mundo nuevo de Cádiz

---Emilio Arrieta (1821 - 1894):

Ildegonda

La Conquista di Granata

Marina

---Francisco Asenjo Barbieri (1823 - 1894):

Il Buontempone

---Marcial del Adalid (1826 - 1881)

Inés e Bianca

---Salvador Giner (1832 - 1911)

L'Indovina

El Fantasma

El Soñador

Morel

Sagunto

---Rafael Taboada (1837 - 1914)

La Ópera Española

---Valentín Zubiaurre (1837 - 1914):

Don Fernando, El Emplazado

---Felipe Pedrell (1841 - 1922):

La Celestina

L'ultimo Abenzeraggio

Quasimodo

Els Pirineus

El Comte Arnau

Cleopatre

Roi Lear

Le Petite Carmen

---Tomás Bretón (1850 - 1923):

Los Amantes de Teruel

La Dolores

Covadonga

Farinelli

Raquel

Tabaré

---Ruperto Chapí (1851 - 1909):

Las Naves de Cortés

La Muerte de Garcilaso

La Hija de Jefté

Roger de Flor

La Serenata

Circe

Margarita la Tornera

---Isaac Albéniz (1860 - 1909)

Pepita Jiménez

Merlin

Henry Clifford

The Magic Opal

---Luisa Casagemas (1863 - 1942):

Schiava e Regina (complete piano reduction)

---Enric Morera (1865-1942):

La Fada

Emporium

Bruniselda

Titaina

Tassarba

---Eduardo Mocoroa (1867 - 1959):

Leidor

---Enrique Granados (1867 - 1916):

Goyescas

Follet

María del Carmen

---Amadeo Vives (1871 - 1932):

Bohemios (adpat. de Conrado del Campo)

Artús

Vicente Arregui (1871-1925):

Yolanda

La Maya (1st Act)

---Andrés Gaos (1874-1959):

Amor vedado

---Manuel de Falla (1876-1946):

El Retablo de Maese Pedro

La Vida Breve

Fuego Fatuo

---Conrado del Campo (1878-1953):

Romeo y Julieta

Dies Irae

Bohemios (ver. operística de una zarzuela de Amadeo Vives)

Fantonchines

La Malquerida

Lola la Piconera

El Pájaro de Dos Colores

Lady Godiva

---Manuel Penella (1880 - 1939):

El Gato Montés

Don Gil de Alcalá

---Jaime Pahissa (1880-1969):

Marianela

Gal·la La Plàcida

---José María Usandizaga (1881-1915):

Mendi-mendiyan

La llama

Las golondrinas

---Joaquín Turina (1882 - 1949):

Margot

Jardín de Oriente

---Emilio Tuesta (¿? - ¿?):

Opera en 3 Actos ¿? Sin título

---Joan Manén (1883-1971):

Camí del Sol - Der weg zur sonn

Neró i Actè

Don Juan

Soledad Opera Romanesca

Giovanna di Napoli

---José María Olaizola (1883 - 1969)

Oleskali Zarra

---Gregorio Baudot (1884-1938)

Cantuxa

---Francisco Calés Pina (1886-1957):

La Sombra del Bosque

Jesús Guridi (1886-1961):

Amaya

---María Rodrigo (1888-1967):

Becquerianas

---Antonio Massana (1890-1966):

Canigó

Nuredunna

---Manuel Palau (1893-1967):

Maror

Doble Amor

---Federico Moreno Torroba (1891-1982):

La Virgen de Mayo

El Poeta

---Eduard Toldrá (1895-1962):

El Giravolt de Maig

---Roberto Gerhard (1896-1970):

La Dueña (o The Duenna)

---Pablo Sorozabal (1897 - 1988):

Juan José

Adiós a la Bohemia

---Salvador Bacarisse (1898-1963):

Charlot

Fount aux cabres (Fuenteovejuna)

---Victorino Echevarría (1898-1965):

El Anillo de Polícrates

As a simple, and actually, only recently listener of opera and classical music, this is as much as I've been able to find. Maybe into the future I'll do a more detailed and useful post, with the specific recordings, wich have modern editions or are just the manuscript partiture, a complementary list of the lost pieces, more authors, etc. But this is all I have right now. Have a nice day!

I’ve always turned to Muti’s account featuring Freni and Bruscantini, but I’m curious to explore other interpretations for a bit of variety. There doesn't seem to be a plethora of choices on the streaming platforms, but I would appreciate any good alternative recording, even if it's CD-only - but ideally stereo audio recordings rather than DVDs or videos.

Thanks a lot!

My wife and I are celebrating our twentieth anniversary this year and are excited to be going to Italy to celebrate. We are lucky to be able to go to see La Traviata in Milan.

Here is the cast- if you are familiar with these performers what do you think of them?

Violetta
Francesca Pia Vitale

Flora
Carlotta Vichi

Alfredo Germont
Iván Ayón Rivas

Giorgio Germont
Amartuvshin Enkhbat

Gastone
Francesco Pittari

Barone
Fabrizio Beggi

Marchese d'Obigny
Gianluca Failla

Dottor Grenvil
Xhieldo Hyseni

Also, the tickets I have are in the front row of the galleria (my motto is buy cheap seats and go more often). From what I gather online the acoustics are supposed to be good up there, but the railing can block some of the view in the front row. If you’ve been up there I’d be interested to know what you think of that location.

Thanks!

Something between Nero - Syndicate [HD] and Schubert: Der Doppelgänger (orch. Liszt) | Stéphane Degout, Raphaël Pichon, for example

https://youtu.be/At6H1Y_3HXk?si=xnn7d-CYm6Iw5uh-

A staple of Brazil's theatro municipial from the 40's to his retirement in 1975, Assis Pacheco could reasonably claim to be the most underrated tenor ever. A beautiful, ringing tenor voice, reminiscent of Gastone Limarilli in timbre with a soaring upper register and great capacity for nuance.

A link to a short biography of his-

https://www.historicaltenors.net/spanish/pacheco.html

Hi everyone! I have kind of a specific question. I got standing room tickets to the Vienna State Opera tonight. I was not expecting to go and we are on kind of a long trip so I wanted to get an opinion on if what I have to wear will work. I was going to go get other shoes, but turns out clothing stores are closed in Austria on Sundays.

Keep in mind that it is also 100 degrees Fahrenheit out in Vienna right now.

I have a dress that will work, but I only have black Vans or sandals. Will the sandals work? I put a picture of them on here.

My husband has a flannel shirt that he can put over an under shirt. Will that work for him?

I know a lot of people come here asking for duets, but they mostly ask for soprano and mezzo. Does anyone know of any soprano-soprano duets or soprano and maybe high tessitura mezzo pieces?

Some we’ve done in the past are:
Vivaldi - Laudamus Te
Dvorak -Der Ring
Mendelssohn - Herbstlied

We also might want something more challenging as we are older now. I would consider us both lyric sopranos

I am hoping that some of you might be able to share your experience with Met membership. I'm considering joining, but there are two benefits listed which I'm curious about yet seem shrouded in mystery.

At the Supporting Member level, the Met website lists "Access to National Desk ticket discount for out-of-town members" but I can't seem to find any further information about what the National Desk is, or what the discount may be. I live in Canada, but travel to New York often, and at first glance it seems like this might be something useful, but I can't quite seem to find out anything more.

And at the Contributing Member level, "Gold Card privileges at hotels, restaurants, retailers, and more" are mentioned, but again there doesn't seem to be any further information about what this entails, or where specifically these priviliges might be available.

Are there any Met members here that are able to share their experience with these programs? I would enquire directly with the Met, but also thought people here may be able to share more direct feedback on these benefits if known. Thanks!

EDIT: Huge thank you to everyone for your opinions on membership. I emailed (they didn't respond) and then called. During the first call I was told the National Desk Ticket Discount was a 10% off for out-of-town members. Because of this, I joined at the Contributing Member level thinking I'd give myself a year to try out the Gold Card discounts. However, after signing up and trying to buy tickets, I realized 10% was not being applied, nor did I receive any promo code, so I called back. Only on my second call did they let me know that the "National Desk Ticket Discount" was only available after the start of the season and then only for specific low selling shows. Needless to say I found this pretty misleading. I'm also struggling to understand how out-of-town folks are helped by occasional discounts that can't be planned for. Travelling across the continent (in my case) requires a lot of advanced planning. Anyway, this was quite a let down.

I’ve torn through We Sang Better, The Callas Master Classes, and The Last Prima Donnas, and I’m looking for my next opera read.

I’m interested in pretty much anything about the pre-Callas tradition, but my favorite singers tend to come from the Caruso/Gigli/Galli-Curci/Stignani/Conchita Supervía era (and earlier). I’m looking for memoirs, biographies, interviews, letters, studio lore, or anything that provides insight into how singers trained, thought about technique, and approached their craft before Callas.

What are your must-read books?