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#4154 - 12/02/11 08:18 PM Re: Glyndebourne 2010 [Re: Jon]
Kay Offline

Registered: 04/25/99
Posts: 17046
Loc: Roanoke, VA , USA
Originally Posted By: Jon
And my description of Boheme was imprecise; obviously it has arias! But they don't have repetitions of the lines of text, and the orchestra keeps moving on to new moods and thoughts

It always bothers me when they stop for applause after "Che gelida manina"...Rodolfo and Mimi are kind of frozen and then she chimes in with "Si...." replying to his request to tell him about herself.
Botticelli Moderator

#4155 - 12/03/11 09:40 AM Re: Glyndebourne 2010 [Re: Jon]
Jon Offline

Registered: 04/25/99
Posts: 6422
Loc: Newark, Delaware, USA
Yes, but on the other hand Puccini clearly put a full musical stop there, a completed musical cadence followed by silence -- pretty much inviting applause. It bothers me more (not a lot, but some) when people applaud after "Recondita armonia" or "Nessun dorma," because in both cases Puccini DIDN'T bring the music to a halt or invite applause in any way. Of course those moments will always be applauded anyway; as I said, I don't really mind terribly. But I recall a wonderful Trovatore at Covent Garden in which the conductor (Charles Mackerras) and the singers (Fiorenza Cossotto, Carlo Cossuta) played the long Azucena-Manrico scene so compellingly and meaningfully that none of us felt like applauding individual numbers until the curtain fell -- and then we let ourselves go in a big way.

#4157 - 12/03/11 10:28 AM Re: Glyndebourne 2010 [Re: Jon]
Barbara Offline

Registered: 04/24/99
Posts: 13033
Loc: Citrus Heights, CA , US
Applause in the middle of a scena is annoying. I imagine it doesn't happen too often, but when it does -- that really grates.

"The Anvil Chorus" doesn't fit into oom-pah-pah. It's missing one "pah".

#4158 - 12/03/11 12:13 PM Re: Glyndebourne 2010 [Re: Jon]
Andrew Offline

Registered: 09/27/11
Posts: 425
Loc: York, England
My general rule is never to applaud anything except at the end of a scene or act. One exception is Zerbinetta's "Grossmaechtigen Prinzessin" in Ariadne auf Naxos. Another is "Ah, mes amis" in La Fille du Régiment.

I went to see Bellini's La Sonnambula (for the first time) at Covent Garden recently and don't feel like seeing it ever again, especially when conducted by Daniel Oren, whose tempi were really soporifica. And the audience couldn't understand that in bel canto many arias have a cavatina and then a cabaletta (with sometimes a tempo di mezzo in between), so there was applause practically all the time.

I've also noticed that in live radio broadcasts nowadays there are increasingly bouts of applause in between movements of orchestral works, mainly concertos.

Mr Grump

#4162 - 12/04/11 09:27 AM Re: Glyndebourne 2010 [Re: Jon]
Pete Offline

Registered: 01/10/02
Posts: 5177
Loc: Newport News, Virginia, USA
I recently attended a concert of Ferenc Liszt works--all single movement pieces, a lot of fireworks, very little music that I noticed. Anyway, applause after each piece, extended applause waiting for the encore.

I was asked by another attendee afterwards was this the same Liszt we always knew as "Franz Liszt"? I'm guessing that he is now considered Hungarian, not Austrian. Shouldn't it be
List Ferencz, then?
Regerds, Pete

#4164 - 12/04/11 03:45 PM Re: Glyndebourne 2010 [Re: Pete]
Rita Offline

Registered: 09/22/04
Posts: 3264
Loc: St. Paul, MN
Yep, according to Behind the Name :

"Hungarian names consist of a family name followed by a given name. This is unique in Europe, where the family name usually follows the given name."

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