By Sir Denis Forman [Forman, Sir Denis]
This a little bit irreverent consultant to opera summarizes the plots of 17 of the world's nice operas, together with Aida, los angeles Boheme, and Carmen, and describes their characters, artists, and composers.
From the Hardcover edition.
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Extra info for A Night at the Opera
Zerbinetta comes out of her dressing room and chats with a posse of backstage folk. Whossat? asks the Composer. A member of the comedy act coming on after your opera says the Music Director. Comedy act? After my show? Impossible says the Composer. He does his nut. Zerbinetta and the Prima Donna slag each other off. It’s all buzz and bumble backstage when the Major-Domo comes back and says last-minute change of plan chaps: my master says the comedy has got to be played on stage at the same time as the opera.
Act IV Sc 1 MINUTES FROM THE START 2: Oh! che mai parlo? ** 4: Già i sacerdoti *** 6: Sì, all’amor ** 9: Chi ti salva ** 11: Ohimè! morir ** 14: Spirto del nume ** Amneris thinks aloud: frightens herself at the thought of Radames’ death: reflects on her great love for him in a sudden, sweet, lyrical burst of emotion2 (tune lies in the accompanying strings). 6 Impossible says he I love Aida. So go to hell;9 now I hate you says she in the final splendidly forceful ensemble: let me die, says he.
Perchè? * 5: Credo a una possanza * 7: Credi all’amor ** 11: Viva Robespierre! * 18: Ecco l’altare ** 24: Ah! 2 She loves it, starts in a fairly low key but soon drunk with blood and wine she’s right into the stormy revolutionary stuff too (to a background of revolutionary songs somewhat genteelly orchestrated for the salon rather than the saloon bar). Chénier’s flight of fancy about Destiny, Love and a Strange Woman5 – pretty ornery to start with but soon gets off the ground and reaches a passionate climax7 when his inner voice tells him to believe in love, then tails off to the accompaniment of a reprehensible solo violin.
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