Download PDF by Henry W. Simon: 100 Great Operas And Their Stories: Act-By-Act Synopses

By Henry W. Simon

A useful consultant for either informal opera fanatics and afficionados, this quantity comprises act-by-act descriptions of operatic works starting from the early 17th century masterworks of Monteverdi and Purcell to the trendy classics of Menotti and Britten. Written in a full of life anecdotal kind, entries contain personality descriptions, historic historical past, and masses extra.

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From his dying son he learns how tragically his fatal plan has overwhelmed him. ANDREA CHÉNIER Opera in four acts by Umberto Giordano with libretto in Italian by Luigi Illica based, roughly, on the life of the poet André de Chénier ANDREA CHÉNIER, a poet Tenor COUNTESS DE COIGNY, an aristocrat Mezzo-soprano MADELEINE DE COIGNY, her daughter Soprano BERSI, Madeleine’s mulatto maid Mezzo-soprano CHARLES GÉRARD, another servant Baritone INCREDIBILE, a spy Tenor MATHIEU, a waiter Baritone ROUCHER, a friend of Chénier’s Bass MADELON, an old woman Mezzo-soprano DUMAS, president of the Revolutionary Tribunal Baritone SCHMIDT, jailer at St.

For these operas are all works of art which (with a few exceptions) have had the vitality to survive on the stage whether or not a modern audience can take the story as seriously as the composer must have before he set the words to music. Under the spell of great music well performed, the willing suspension of disbelief that Coleridge demanded for poetry is more easily come by when whatever nonsense may occur on the stage has already been forgiven and when one can throw oneself under the spell of the words, the action, the scenery and the music in the way the composer could have wished.

The story and music of The Abduction were part of this Turkish fad. It concerns a high-minded Pasha of the sixteenth century, who captures a beautiful English maiden, Konstanze, and her maid Blondchen (meaning “little blonde”), and also Pedrillo, the servant of a young Spanish nobleman named Belmonte. OVERTURE The overture, a familiar piece in concert halls, reflects the contemporary Turkish fad: it makes prominent use of both the triangle and the bass drum. Gay in mood, as the overture to any Singspiel should be, it offers a moment of sweet sadness by including, in a minor key, the young hero’s opening aria.

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