#anyway this zerlina has a lovely voice. and she's also adorable | Explore Tumblr Posts and Blogs

infinitelytheheartexpands · 4 years

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ALL (supervillain laugh) take your time tho :D

Oh no WHY alright I submit *sighs, shakes my head, and briefly regrets all my life choices*

here we go! (#9 and #19 are pending specific opera submissions)

I wrote an overly long post here in response to this question a while back

Don Carlo!!!

Just started Halka. Not very far in, but I’m liking it so far.

In full, Cavalleria rusticana (yesterday)

Die tote Stadt (specifically the one recording conducted by Erich Leinsdorf)

Sopranos, with baritones in a very close second.

I will keep advocating for a Belle Époque Simon Boccanegra until it actually happens. Also Paris Commune Le prophète.

*see the 2017 Paris Opéra cast, except very reluctantly swap in Furlanetto for Abdrazakov*

pending submission of a specific opera

really tough...the ROH 1985 one was my first, so it may be my favorite for sentimental reasons, although I also LOVE the current ROH/Met coproduction (with the exception of some details), the Salzburg 2013, and that Liège production from not too long ago

well, based on several factors (including roles I’ve played in musicals, choir assignments, and stuff from voice lessons in the past), I’ll say Poppea (Agrippina), Zerlina (Don Giovanni), and Urbain (Les Huguenots)

Yes, my answer is Don Carlo

Depending on the day, either ‘Dio, che nell’alma infondere’, ‘Nuit d’ivresse et d’extase infinie’, or ‘Ô ciel! où courez-vous?’

my HOMEGIRL Princess Éboli

any really good rendition of ‘Depuis le jour’. that aria SLAPS.

I’m cheating and doing a play instead BECAUSE I FEEL LIKE IT anyway we need Ibsen-based operas and I nominate Hedda Gabler with Sonya Yoncheva and Lisette Oropesa as Hedda and Thea there I said it if you want further casting ask me again later

I don’t know if there’s any one character I have the same personality as??? although I was recently told by someone else on here that my personality is a cross between Figaro and Marguerite de Valois so... make of that what you will (and tell me what you think!)

we all know my answer to this (it’s Carlo/Rodrigo)

also pending a specific opera submission

depends on...a lot of factors, but I adore both Jonas Kaufmann and José Carreras (he is the best of the Three Tenors; no, I am not accepting criticism at this time)

going with Carmen for the sake of argument here, definitely Carmen

...I am not a fan of Puccini’s Manon Lescaut

probably Die tote Stadt, which is seriously bizarre but incredibly amazing (possibly because of its inherent bizarreness?)

not sure if this is in reference to characters or singers; I’ll assume this is about characters and say (of course) Carlo/Rodrigo, with Marie/Tonio and Fenton/Nannetta very close behind.

Renato needs love and hugs and just deserves so much better (he just needs to learn to not be a Jealous Baritone Husband). Other than that drama, he has a proven track record of being a good friend.

waaaaaaaaaaaayyyyyyyyyyyyy too many. for the sake of being concise, five I love: Callas, Popp, Benackova, Oropesa, Rebeka.

Verdi ❤️ no one else has written so many great operas I love so much over such a long period of time

waaaaaaaaaaaayyyyyyyyyyyyy too many (again). first one that popped into my head just now was Sophie from Werther, so we’re gonna go with her.

Act III finale, La bohème.

how has there not been a good opera version of Twelfth Night? that is operatic comedy gold WAITING to happen

a) I hate these singer questions because I have way too many, and b) among many, many others, Milnes, Gobbi, Zancanaro, Keenlyside, and Tézier.

I see a sweet trouser role, I adopt him. also Annina from La traviata deserves WAY more credit than she gets. love her to death.

since I try to be optimistic or at least neutral when going into a new opera, none

cannot gender swap names in my head at the moment, so Carlo becomes a standard mid-late Verdi soprano role, Elisabetta becomes a baritone (YOU THOUGHT SHE’D BE A TENOR BUT NOOOOO), Rodrigo is the Good Mezzo who gets the Basically Non-Existent Mezzo Death Scene, Éboli is a tenor, Filippo goes full dramatic mezzo, and the Grand Inquisitor becomes a nearly-impossible-to-sing contralto role with a few extremely powerful high notes thrown in because why not. Tebaldo remains a coloratura soprano.

slightly cheating, but Berlioz’s Les Troyens (not directly based on myth, but kinda?)

‘We really gotta hurry-‘ ‘But first, let’s sing about our feelings!’ or ‘death scene with lots of blood and sadness’ or ‘death by singing’ or party gone wrong (I’m a sucker for good opera tropes)

For baritones: Onegin, don’t go to the name day ball. Just don’t. For tenors: either Otello re: trusting Iago over Desdemona or...pretty much Hoffmann’s entire life.

Again, I hate these questions, but here are five anyway: Cossotto, Troyanos, DiDonato, Garanča, and Rachvelishvili.

FILIPPO (I would DIE to be able to play Filippo. also can I just say that bass and bass-baritone roles in (at least originally) French operas are...*chef’s kiss*.)

Éboli’s outfit in Act IV, Scene 1 of the 2017 Paris Don Carlos.

I really, really want to like Aida as much as everyone else seems to, but I still think that while the plot is good and the music is good, it somehow just doesn’t work and is also massively overrated.

so I don’t talk about Lucia di Lammermoor much but it’s awesome and the mad scene is one of my favorite things ever and ALSO THE OPERA SHOULD HAVE ENDED WITH THE MAD SCENE WHAT THE HELL CAMMARANO so yeah there’s that

well, I’ve been in love with Carmen since I was 7, so...

so many! Figaro seems like he’d be a pretty awesome BFF

Three words: Così. fan. tutte

La gioconda, which has okay music overall (although ‘Stella dal marinar’ is good and the Dance of the Hours is an absolute BOP) but I like the plot a lot better (imagine how it would have been if Verdi or even Boito wrote the music!). also ‘Cielo e mar’ is the third-most overrated tenor aria of all time and you can fight me on that.

way too many (again), but I gotta say it: especially in Verdi, Furlanetto simply cannot be beat.

so many ridiculous roles...you know what’s ridiculous? Hélène in Les veprês siciliennes. At least she gets a scene off, but other than that it’s *high notes* *low notes* *coloratura* *declamation over a huge orchestra and chorus* *sassing the French* *cadenza* *repeat for three hours*

I have been meaning to watch Boris Godunov in its entirety for a while and I WILL THIS WEEK (thanks, Met Opera!). Also literally any Wagner. I was going to see the Met HD of Höllander but you know what happened.

Tosca for tragedies, Barbiere di Siviglia for comedies, Don Giovanni for everyone.

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