By Denis Forman
This somewhat irreverent advisor to opera summarizes the plots of 17 of the world's nice operas, together with Aida, l. a. Boheme, and Carmen, and describes their characters, artists, and composers.
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Extra info for A Night at the Opera: An Irreverent Guide to The Plots, The Singers, The Composers, The Recordings
What operatic quartet begins with a solo of a merefivebars, followed by the entrance 20 Requiem e Kyrie Ex. 1 Requiem e Kyrie (a) bb. 78-82 (b) bb. 97-^8 animando un poco Solo ppp, (c) bb. 101-2 6 (d) bb. 109-11 ,6 Lit Ky T - ri Ky - ri - c of the three remaining singers in turn, each with similar or identical text and music? That the soloists and chorus share the same musical material is a corollary of the virtual identity of text and total lack of conflicting emotions. And note too the economy of material and consequent emphasis on techniques 21 Verdi: Requiem of variation and transformation.
Furthermore, the three pleas are dissociated tonally, as each is transposed a minor third higher in a modulating sequence. 17 The passage therefore arpeggiates a diminished-seventh chord on C (c--el>-gl»-a): this chord will assume greater significance later. Verdi has thus set up a conflict between two contrasting (though related) motives. In the first stage they are presented separately, while in the second 32 Dies tree Ex. 1 'Rex tremendae majestatis' (a) bb. 322-5 (of Dies irce) Choral ff m U Z Z Z H Z Z Z Z Z Z Z ^ basses \f Rex ~ ~ ire - men ^__ - d However, like the earlier attempted escape to III (bb. 641-5), it inexorably returns to B\> minor and the principal theme. The theme is again subjected to various contrapuntal manipulations, where different countersubjects are fitted to the opening bars of the theme. The orchestra at bb. 687-91, in four real parts, is especially effective. At b. 694, B\> minor is replaced by the parallel major. The tonic is reached at b. 695, but a neighbouring chord of G (VI) - a reference to the G tonality of the opening of the Dies irce movement?
A Night at the Opera: An Irreverent Guide to The Plots, The Singers, The Composers, The Recordings by Denis Forman
However, like the earlier attempted escape to III (bb. 641-5), it inexorably returns to B\> minor and the principal theme. The theme is again subjected to various contrapuntal manipulations, where different countersubjects are fitted to the opening bars of the theme. The orchestra at bb. 687-91, in four real parts, is especially effective. At b. 694, B\> minor is replaced by the parallel major. The tonic is reached at b. 695, but a neighbouring chord of G (VI) - a reference to the G tonality of the opening of the Dies irce movement?