What opera are you listening to?

[Master Jacques]

Yes. It's a persistent aggravation for me too. It's particularly frustrating when the works themselves are seldom staged. That Palermo Feuersnot was a recent case in point, and the Zurich Königskinder likewise ...

Just to alert you - and anyone else who loves this outstanding opera - that the new Königskinder (Naxos Blu-ray, Amsterdam) which I've just covered is a complete winner, which will please 'traditionalists' and progressives alike. And given Amsterdam's fiscal problems, the production didn't cost a million dollars either.

[Ein Heldenleben]

Anyone feeling awkward about not wanting to hear a whole opera at a a sitting may take comfort from the fact that both Sir Adrian Boult and Bruno Walter sometimes preferred to miss out act two of a three-acter, and so on. All very well if, like them , you could afford to go twice to hear the part you missed . I used religiously to find time to listen to even Parsifal at one sitting, and the Ring over four days but after reading Eddie Sackville-West's suggestion that Act five of Pelleas et Melisande sounds better when heard alone, I've become more casual.

There is an art itself to Act ducking . It the Tenor is duff or having an off night (a not unknown occurrence) I will skip act 3 Tosca and indeed Act 3 Tristan unless the Isolde is on cracking form. Act 4 Boheme is also eminently missable.
I had a phase in the seventies of leaving Royal Opera Verdi productions early (after Act 1 even) because they were often not up to much - nowadays they are usually superb. I’ve also left Pelleas early - singers just not good enough.
I’ve not yet missed a middle Act and come back for the final one but it’s only a matter of time. Trying to work out what operas might work for this ?

[Master Jacques]

I’ve not yet missed a middle Act and come back for the final one but it’s only a matter of time. Trying to work out what operas might work for this ?

Classic case is The Rake's Progress, which has wonderful outer acts, and a ... well, less than optimal central one, unless you're in thrall to Baba the Turk.

[Ein Heldenleben]

Classic case is The Rake's Progress, which has wonderful outer acts, and a ... well, less than optimal central one, unless you're in thrall to Baba the Turk.

Good one. Often the middle acts where things sag.

[makropulos]

Just to alert you - and anyone else who loves this outstanding opera - that the new Königskinder (Naxos Blu-ray, Amsterdam) which I've just covered is a complete winner, which will please 'traditionalists' and progressives alike. And given Amsterdam's fiscal problems, the production didn't cost a million dollars either.

Thank you so much for the recommendation! On the shopping list...

[Master Jacques]

I have not, but I’m a little allergic to the concept. I’m sure there are strong feelings about this, pro and con. I think that supertitles in person and subtitles on video have eliminated an argument in favor of opera in English. In fact, English supertitles are sometimes used even when an opera is performed IN English, because the vocal lines make the words hard to discern.

I use English subtitles when I watch English-language films on DVD (especially crime films set in Glasgow!).

I'm not wishing to be pulled into this repeating topic, as I am sure most Forumites have heard more than enough about my position!

Except to note that it is not only about "strong feelings, pro and con" (as if all was well with the world, which it certainly isn't in UK opera) but also about aesthetics; the viability of music drama when audiences are staring at the proscenium arch rather than concentrating on the stage and the pit; and about the "snobbery" - to use RVW's angry word - of people who prefer to get their operatic fix in a language (any language) which they don't understand. He knew that opera was not "all about the lovely music". Wagner, Verdi, Puccini and Janacek (to name but four) would have been equally appalled at the penchant of UK/USA audiences for "original language" shows: in their time they considered this approach nonsense, and I dread to think what they'd have thought of the surtitle plague.

This non-sense has now been extended by the brilliant idea of getting singers to sing in languages (e.g. Czech or Russian) which they have to learn syllabically, as they don't understand a word they're uttering. No wonder so many people decide, regrettably, that opera is "not for them", when faced with this perfect storm of exclusivity.

[richardfinegold]

Opera hasn’t been my bailiwick but now that I am retired Lyric Opera of Chicago has a Wednesday matinee for substantially less than normal ticket prices. Our recently widowed next door neighbor is looking for a companion as she joined an Opera appreciation club. One week today it’s Jenufa. To date the only vocal music of Janacek with which I have any familiarity is the Glagolitic Mass. Any hints for an Opera neophyte on how to prepare? Suggested recordings?

[Bryn]

Opera hasn’t been my bailiwick but now that I am retired Lyric Opera of Chicago has a Wednesday matinee for substantially less than normal ticket prices. Our recently widowed next door neighbor is looking for a companion as she joined an Opera appreciation club. One week today it’s Jenufa. To date the only vocal music of Janacek with which I have any familiarity is the Glagolitic Mass. Any hints for an Opera neophyte on how to prepare? Suggested recordings?

I would suggest attending and listening with an 'innocent' ear. Is it being sung in Czech or a translation into English?

[eighthobstruction]

....Hi is bailiwick a commonly used word in US....that and bellweather....interesting....those are both very old world words....

[richardfinegold]

....Hi is bailiwick a commonly used word in US....that and bellweather....interesting....those are both very old world words....

Yes they are both frequently used…we haven’t drifted that far from the Kings English…

[PatrickMurtha]

....Hi is bailiwick a commonly used word in US....that and bellweather....interesting....those are both very old world words....

Most adults in the US have 500 word vocabularies, it’s like Basic English all over again.

[Master Jacques]

Opera hasn’t been my bailiwick but now that I am retired Lyric Opera of Chicago has a Wednesday matinee for substantially less than normal ticket prices. Our recently widowed next door neighbor is looking for a companion as she joined an Opera appreciation club. One week today it’s Jenufa. To date the only vocal music of Janacek with which I have any familiarity is the Glagolitic Mass. Any hints for an Opera neophyte on how to prepare? Suggested recordings?

My suggestion is to read an English translation of the libretto in advance, if you can, as I expect Chicago are performing it in Czech. The music is searingly direct, and I urge you to experience its impact first in the theatre, and only then get to know it better on disc. I'd then recommend the wonderful 1953 Bakala performance, curated by Makropulos for CRQ:

https://www.for3.org/forums/forum/classical-forum/record-review/16851-bakala-jan%C3%A1%C4%8Dek-operas?17525-Bakala-Jan%C3%A1%C4%8Dek-operas=#post633311

... and also available in excellent CD remastering from Radio Servis. If that's too hard to get hold of, you can't go wrong with Mackerras on Decca, as chosen by Makropulos recently for Building a Library.

[Ein Heldenleben]

Opera hasn’t been my bailiwick but now that I am retired Lyric Opera of Chicago has a Wednesday matinee for substantially less than normal ticket prices. Our recently widowed next door neighbor is looking for a companion as she joined an Opera appreciation club. One week today it’s Jenufa. To date the only vocal music of Janacek with which I have any familiarity is the Glagolitic Mass. Any hints for an Opera neophyte on how to prepare? Suggested recordings?

Good first choice. I would just read the synopsis. It’s such a simple (and devastating) plot. The music is arguably more “approachable “ than the Glagolitic. One of the very greatest of operas IMHO. The first time I saw it (in a Glyndebourne touring production ) I couldn’t leave my seat at the end I was in such a state.

[richardfinegold]

I would suggest attending and listening with an 'innocent' ear. Is it being sung in Czech or a translation into English?

I don’t know what language is on tap, but I’m hoping Czech, as my understanding is that Janacek’s rhythms are intimately related to the rhythms of Czech speech.
Regarding the innocent ear suggestion, in my case it might be innocent hearing aid, as I am supposed to get my new aids a few hours before the performance. I am not planning on wearing them, though until afterwards, for multiple reasons, one being that in my inexperience I might cause them to emit noise that will disturb others

[gradus]

There is an art itself to Act ducking . It the Tenor is duff or having an off night (a not unknown occurrence) I will skip act 3 Tosca and indeed Act 3 Tristan unless the Isolde is on cracking form. Act 4 Boheme is also eminently missable.
I had a phase in the seventies of leaving Royal Opera Verdi productions early (after Act 1 even) because they were often not up to much - nowadays they are usually superb. I’ve also left Pelleas early - singers just not good enough.
I’ve not yet missed a middle Act and come back for the final one but it’s only a matter of time. Trying to work out what operas might work for this ?

How about Parsifal?