#puccini — Public Fediverse posts

"Don't You Know?" is a 1959 popular song written by #BobbyWorth, and hit record for singer #DellaReese. The song was adapted from an #aria ("#MusettasWaltz") from #Puccini's #LaBohème. It was Reese's first single on her new label #RCAVictor and helped her get a nomination for a #GrammyAward for #BestFemaleVocalist. Previously entitled "You," the song had also been a hit for #SammyKaye in 1952, reaching number 28.
https://www.youtube.com/watch?v=VJSnKWpb_hs

"Don't You Know?" is a 1959 popular song written by #BobbyWorth, and hit record for singer #DellaReese. The song was adapted from an #aria ("#MusettasWaltz") from #Puccini's #LaBohème. It was Reese's first single on her new label #RCAVictor and helped her get a nomination for a #GrammyAward for #BestFemaleVocalist. Previously entitled "You," the song had also been a hit for #SammyKaye in 1952, reaching number 28.
https://www.youtube.com/watch?v=VJSnKWpb_hs

"Don't You Know?" is a 1959 popular song written by #BobbyWorth, and hit record for singer #DellaReese. The song was adapted from an #aria ("#MusettasWaltz") from #Puccini's #LaBohème. It was Reese's first single on her new label #RCAVictor and helped her get a nomination for a #GrammyAward for #BestFemaleVocalist. Previously entitled "You," the song had also been a hit for #SammyKaye in 1952, reaching number 28.
https://www.youtube.com/watch?v=VJSnKWpb_hs

"Don't You Know?" is a 1959 popular song written by #BobbyWorth, and hit record for singer #DellaReese. The song was adapted from an #aria ("#MusettasWaltz") from #Puccini's #LaBohème. It was Reese's first single on her new label #RCAVictor and helped her get a nomination for a #GrammyAward for #BestFemaleVocalist. Previously entitled "You," the song had also been a hit for #SammyKaye in 1952, reaching number 28.
https://www.youtube.com/watch?v=VJSnKWpb_hs

"Don't You Know?" is a 1959 popular song written by #BobbyWorth, and hit record for singer #DellaReese. The song was adapted from an #aria ("#MusettasWaltz") from #Puccini's #LaBohème. It was Reese's first single on her new label #RCAVictor and helped her get a nomination for a #GrammyAward for #BestFemaleVocalist. Previously entitled "You," the song had also been a hit for #SammyKaye in 1952, reaching number 28.
https://www.youtube.com/watch?v=VJSnKWpb_hs

[OPÉRA]
"Oui, c’est un bon premier opéra. On traverse différentes atmosphères. Le génie de Puccini fait que l’on retient les mélodies après les avoir entendues une fois. Certains enfants sont tellement touchés par la musique qu’ils en oublient de chanter."
Entretien avec Swann van Rechem. Le chef dirige l'orchestre de l'opéra de Normandie Rouen dans "Turandot" de Puccini.
C'est l'opéra participatif de la saison.
Lisez l'interview : https://www.relikto.com/.../opera-puccini-turandot-swann.../

@operaderouen #swannvanrechem #puccini #turandot #opera #operaparticipatif #enfamille #sortirennormandie
© Fred Margueron

Right now, #Puccini's 'La bohème' with Kurzak, Stober, Long and Evans from New York https://www.worldconcerthall.com/en/schedule/puccinis_la_boheme_with_kurzak_stober_long_and_evans_from_new_york/91845/ #wch

In 20 minutes, #Puccini's 'La bohème' with Kurzak, Stober, Long and Evans from New York https://www.worldconcerthall.com/en/schedule/puccinis_la_boheme_with_kurzak_stober_long_and_evans_from_new_york/91845/ #wch

Today, #Puccini's 'La bohème' with Kurzak, Stober, Long and Evans from New York https://www.worldconcerthall.com/en/schedule/puccinis_la_boheme_with_kurzak_stober_long_and_evans_from_new_york/91845/ #wch

Right now, #Puccini's 'La bohème' with Blue, Edris, Smith, Luciano and Parks from New York https://www.worldconcerthall.com/en/schedule/puccinis_la_boheme_with_blue_edris_smith_luciano_and_parks_from_new_york/91728/ #wch

In 20 minutes, #Puccini's 'La bohème' with Blue, Edris, Smith, Luciano and Parks from New York https://www.worldconcerthall.com/en/schedule/puccinis_la_boheme_with_blue_edris_smith_luciano_and_parks_from_new_york/91728/ #wch

Today, #Puccini's 'La bohème' with Blue, Edris, Smith, Luciano and Parks from New York https://www.worldconcerthall.com/en/schedule/puccinis_la_boheme_with_blue_edris_smith_luciano_and_parks_from_new_york/91728/ #wch

https://www.europesays.com/at/?p=95060 Junge Staatsoper – Puccini-Porträt für Kinder: So ist Oper wirklich #AnaGarotic #AT #Austria #ChristianeLutz #Entertainment #Italien #LaBohème #LisaPadouvas #Liù #MadamaButterfly #MartinGellner #Mimi #Minnie #Österreich #Puccini #Puccinis #Unterhaltung #Wiener

i've created the draft for this post a while ago but only now had the time to finish and publish it. nessun dorma - you all have heard this famous aria from the opera turandot by puccini. but what does the phrase actually mean and what's its context within the plotline of the opera? read a short summary here...

http://cogmodo.com/nessundorma

#blog #writing #writingcommunity #iamwriting #opera #love #turandot #puccini

https://www.europesays.com/it/395959/ Vittoria Puccini insieme alla figlia incantano i fan #abito #AbitoBlu #attrice #carriera #Celebrità #Celebrities #dedicata #elena #Entertainment #equilibrio #evento #figlia #Intrattenimento #IT #Italia #Italy #mano #privata #puccini #PucciniFiglia #roma #serata #sfilata #SfilataEvento #sottolineato #stile #vittoria #VittoriaPuccini #VittoriaPucciniFiglia

Right now, #Puccini's 'Madama Butterfly' with Kurzak, Smith, Cano and Kelsey from New York https://www.worldconcerthall.com/en/schedule/puccinis_madama_butterfly_with_kurzak_smith_cano_and_kelsey_from_new_york/91216/ #wch

In 20 minutes, #Puccini's 'Madama Butterfly' with Kurzak, Smith, Cano and Kelsey from New York https://www.worldconcerthall.com/en/schedule/puccinis_madama_butterfly_with_kurzak_smith_cano_and_kelsey_from_new_york/91216/ #wch

Today, #Puccini's 'Madama Butterfly' with Kurzak, Smith, Cano and Kelsey from New York https://www.worldconcerthall.com/en/schedule/puccinis_madama_butterfly_with_kurzak_smith_cano_and_kelsey_from_new_york/91216/ #wch

Right now, opera highlights from #Rome: #Verdi #Puccini #Bellini #Mozart #Delibes and #Bernstein https://www.worldconcerthall.com/en/schedule/opera_highlights_from_rome_verdi_puccini_bellini_mozart_delibes_and_bernstein/91011/ #wch

In 15 minutes, opera highlights from #Rome: #Verdi #Puccini #Bellini #Mozart #Delibes and #Bernstein https://www.worldconcerthall.com/en/schedule/opera_highlights_from_rome_verdi_puccini_bellini_mozart_delibes_and_bernstein/91011/ #wch

Today, opera highlights from #Rome: #Verdi #Puccini #Bellini #Mozart #Delibes and #Bernstein https://www.worldconcerthall.com/en/schedule/opera_highlights_from_rome_verdi_puccini_bellini_mozart_delibes_and_bernstein/91011/ #wch

Right now, Ching-Shan #Puccini #Mahler, Chih-Yun and #Tyzen sound in #Chicago https://www.worldconcerthall.com/en/schedule/chingshan_puccini_mahler_chihyun_and_tyzen_sound_in_chicago/91021/ #wch

In 20 minutes, Ching-Shan #Puccini #Mahler, Chih-Yun and #Tyzen sound in #Chicago https://www.worldconcerthall.com/en/schedule/chingshan_puccini_mahler_chihyun_and_tyzen_sound_in_chicago/91021/ #wch

Today, Ching-Shan #Puccini #Mahler, Chih-Yun and #Tyzen sound in #Chicago https://www.worldconcerthall.com/en/schedule/chingshan_puccini_mahler_chihyun_and_tyzen_sound_in_chicago/91021/ #wch

After watching the #MilanCortina opening ceremonies, all I can say about the #Verdi, #Puccini, and #Rossini "heads" is urgh.

I mean URGH!

NOT done well.

“”Traduttore, traditore”*…

Translation is key to communication across cultures– and across time. But as the old Italian adage above suggests, transaction is difficult; indeed, translation is sure, from time to time, to fail. (C.f., e.g., here) The estimable Jonathan Bate shares a “tragic” example…

One of the most consequential misunderstandings in the history of literary criticism turns on a single Greek word. In Aristotle’s Poetics, that word is hamartia. It is usually rendered, in classrooms and handbooks, as “tragic flaw,” and on that translation an entire tradition of reading tragedy has been erected. Yet if we return to Aristotle’s Greek and trace the word’s history with some philological care, it becomes clear that this familiar formula rests on a slow but decisive mistranslation—less an error at a single moment than a long cultural drift in which a term meaning “mistake” gradually hardened into a doctrine of moral defect.

In classical Greek, hamartia belongs to the language of action rather than character. Its root sense is concrete and kinetic: to miss one’s mark, as an archer misses the target. By extension, it denotes an error, a misjudgment, a false step—often one made in ignorance of some crucial fact. Aristotle uses the term this way throughout his works, ethical and otherwise. In the Poetics, when he says that the tragic hero falls into misfortune “because of hamartia,” he is careful to exclude two alternatives. The hero does not fall because he is wicked, nor because he is exceptionally virtuous. Tragedy, for Aristotle, does not punish vice or reward goodness; it stages the vulnerability of human action to error within an intelligible but unstable world. The downfall comes about δι’ ἁμαρτίαν—because of an error, not because the hero is “flawed” in a modern psychological or ethical sense…

[Bate locates this reading in the larger corpus of Aristotle’s thinking, then traces the evolution of the reading of hamartia— and of the culture(s) that informed those understandings. He concludes…]

… the history of hamartia traces a remarkable arc: from error in action, to moral fault, to sin, to vice, to psychological flaw. Each step made sense within its own intellectual climate, yet the cumulative effect was to impose on Aristotle a conception of tragedy he would scarcely have recognized. What began as a missed mark became a stain on the soul. And with that shift, tragedy itself was subtly transformed—from a meditation on human fallibility into a lesson on personal failure…

The history of a misreading: “Aristotle and the so-called Tragic Flaw,” from @profbate.bsky.social.

* Old Italian adage: “translator, traitor” (or, “to translate is to betray”) See here and here.

###

As we tangle with tragedy, we might recall that it was on this date in 1904 that Giacomo Puccini‘s Madama Butterfly premiered at La Scala in Milan. The tragic opera (with a libretto by  Luigi Illica and Giuseppe Giacosa) was based on the 1898 short story “Madame Butterfly” by John Luther Long, which in turn was based on stories told to Long by his sister Jennie Correll, and on the semi-autobiographical 1887 French novel Madame Chrysanthème by Pierre Loti. Long’s version was dramatized by David Belasco as the one-act play Madame Butterfly: A Tragedy of Japan, which, after premiering in New York in 1900, moved to London, where Puccini saw it in the summer of that year.

The premiere in Milan was a fiasco, beset by several bad staging decisions, from the lack of an intermission during the second act to the device of giving audience plants nightingale whistles to deepen the sense of sunrise in the final scene– which the audience took as a cue to make their own animal noises. Today Madama Butterfly is considered a masterpiece and is the sixth most performed opera in the world.

“Traduttore, traditore”*…

Translation is key to communication across cultures– and across time. But as the old Italian adage above suggests, transaction is difficult; indeed, translation is sure, from time to time, to fail. (C.f., e.g., here) The estimable Jonathan Bate shares a “tragic” example…

One of the most consequential misunderstandings in the history of literary criticism turns on a single Greek word. In Aristotle’s Poetics, that word is hamartia. It is usually rendered, in classrooms and handbooks, as “tragic flaw,” and on that translation an entire tradition of reading tragedy has been erected. Yet if we return to Aristotle’s Greek and trace the word’s history with some philological care, it becomes clear that this familiar formula rests on a slow but decisive mistranslation—less an error at a single moment than a long cultural drift in which a term meaning “mistake” gradually hardened into a doctrine of moral defect.

In classical Greek, hamartia belongs to the language of action rather than character. Its root sense is concrete and kinetic: to miss one’s mark, as an archer misses the target. By extension, it denotes an error, a misjudgment, a false step—often one made in ignorance of some crucial fact. Aristotle uses the term this way throughout his works, ethical and otherwise. In the Poetics, when he says that the tragic hero falls into misfortune “because of hamartia,” he is careful to exclude two alternatives. The hero does not fall because he is wicked, nor because he is exceptionally virtuous. Tragedy, for Aristotle, does not punish vice or reward goodness; it stages the vulnerability of human action to error within an intelligible but unstable world. The downfall comes about δι’ ἁμαρτίαν—because of an error, not because the hero is “flawed” in a modern psychological or ethical sense…

[Bate locates this reading in the larger corpus of Aristotle’s thinking, then traces the evolution of the reading of hamartia— and of the culture(s) that informed those understandings. He concludes…]

… the history of hamartia traces a remarkable arc: from error in action, to moral fault, to sin, to vice, to psychological flaw. Each step made sense within its own intellectual climate, yet the cumulative effect was to impose on Aristotle a conception of tragedy he would scarcely have recognized. What began as a missed mark became a stain on the soul. And with that shift, tragedy itself was subtly transformed—from a meditation on human fallibility into a lesson on personal failure…

The history of a misreading: “Aristotle and the so-called Tragic Flaw,” from @profbate.bsky.social.

* Old Italian adage: “translator, traitor” (or, “to translate is to betray”) See here and here.

###

As we tangle with tragedy, we might recall that it was on this date in 1904 that Giacomo Puccini‘s Madama Butterfly premiered at La Scala in Milan. The tragic opera (with a libretto by  Luigi Illica and Giuseppe Giacosa) was based on the 1898 short story “Madame Butterfly” by John Luther Long, which in turn was based on stories told to Long by his sister Jennie Correll, and on the semi-autobiographical 1887 French novel Madame Chrysanthème by Pierre Loti. Long’s version was dramatized by David Belasco as the one-act play Madame Butterfly: A Tragedy of Japan, which, after premiering in New York in 1900, moved to London, where Puccini saw it in the summer of that year.

The premiere in Milan was a fiasco, beset by several bad staging decisions, from the lack of an intermission during the second act to the device of giving audience plants nightingale whistles to deepen the sense of sunrise in the final scene– which the audience took as a cue to make their own animal noises. Today Madama Butterfly is considered a masterpiece and is the sixth most performed opera in the world.

“”Traduttore, traditore”*…

Translation is key to communication across cultures– and across time. But as the old Italian adage above suggests, transaction is difficult; indeed, translation is sure, from time to time, to fail. (C.f., e.g., here) The estimable Jonathan Bate shares a “tragic” example…

One of the most consequential misunderstandings in the history of literary criticism turns on a single Greek word. In Aristotle’s Poetics, that word is hamartia. It is usually rendered, in classrooms and handbooks, as “tragic flaw,” and on that translation an entire tradition of reading tragedy has been erected. Yet if we return to Aristotle’s Greek and trace the word’s history with some philological care, it becomes clear that this familiar formula rests on a slow but decisive mistranslation—less an error at a single moment than a long cultural drift in which a term meaning “mistake” gradually hardened into a doctrine of moral defect.

In classical Greek, hamartia belongs to the language of action rather than character. Its root sense is concrete and kinetic: to miss one’s mark, as an archer misses the target. By extension, it denotes an error, a misjudgment, a false step—often one made in ignorance of some crucial fact. Aristotle uses the term this way throughout his works, ethical and otherwise. In the Poetics, when he says that the tragic hero falls into misfortune “because of hamartia,” he is careful to exclude two alternatives. The hero does not fall because he is wicked, nor because he is exceptionally virtuous. Tragedy, for Aristotle, does not punish vice or reward goodness; it stages the vulnerability of human action to error within an intelligible but unstable world. The downfall comes about δι’ ἁμαρτίαν—because of an error, not because the hero is “flawed” in a modern psychological or ethical sense…

[Bate locates this reading in the larger corpus of Aristotle’s thinking, then traces the evolution of the reading of hamartia— and of the culture(s) that informed those understandings. He concludes…]

… the history of hamartia traces a remarkable arc: from error in action, to moral fault, to sin, to vice, to psychological flaw. Each step made sense within its own intellectual climate, yet the cumulative effect was to impose on Aristotle a conception of tragedy he would scarcely have recognized. What began as a missed mark became a stain on the soul. And with that shift, tragedy itself was subtly transformed—from a meditation on human fallibility into a lesson on personal failure…

The history of a misreading: “Aristotle and the so-called Tragic Flaw,” from @profbate.bsky.social.

* Old Italian adage: “translator, traitor” (or, “to translate is to betray”) See here and here.

###

As we tangle with tragedy, we might recall that it was on this date in 1904 that Giacomo Puccini‘s Madama Butterfly premiered at La Scala in Milan. The tragic opera (with a libretto by  Luigi Illica and Giuseppe Giacosa) was based on the 1898 short story “Madame Butterfly” by John Luther Long, which in turn was based on stories told to Long by his sister Jennie Correll, and on the semi-autobiographical 1887 French novel Madame Chrysanthème by Pierre Loti. Long’s version was dramatized by David Belasco as the one-act play Madame Butterfly: A Tragedy of Japan, which, after premiering in New York in 1900, moved to London, where Puccini saw it in the summer of that year.

The premiere in Milan was a fiasco, beset by several bad staging decisions, from the lack of an intermission during the second act to the device of giving audience plants nightingale whistles to deepen the sense of sunrise in the final scene– which the audience took as a cue to make their own animal noises. Today Madama Butterfly is considered a masterpiece and is the sixth most performed opera in the world.

“”Traduttore, traditore”*…

Translation is key to communication across cultures– and across time. But as the old Italian adage above suggests, transaction is difficult; indeed, translation is sure, from time to time, to fail. (C.f., e.g., here) The estimable Jonathan Bate shares a “tragic” example…

One of the most consequential misunderstandings in the history of literary criticism turns on a single Greek word. In Aristotle’s Poetics, that word is hamartia. It is usually rendered, in classrooms and handbooks, as “tragic flaw,” and on that translation an entire tradition of reading tragedy has been erected. Yet if we return to Aristotle’s Greek and trace the word’s history with some philological care, it becomes clear that this familiar formula rests on a slow but decisive mistranslation—less an error at a single moment than a long cultural drift in which a term meaning “mistake” gradually hardened into a doctrine of moral defect.

In classical Greek, hamartia belongs to the language of action rather than character. Its root sense is concrete and kinetic: to miss one’s mark, as an archer misses the target. By extension, it denotes an error, a misjudgment, a false step—often one made in ignorance of some crucial fact. Aristotle uses the term this way throughout his works, ethical and otherwise. In the Poetics, when he says that the tragic hero falls into misfortune “because of hamartia,” he is careful to exclude two alternatives. The hero does not fall because he is wicked, nor because he is exceptionally virtuous. Tragedy, for Aristotle, does not punish vice or reward goodness; it stages the vulnerability of human action to error within an intelligible but unstable world. The downfall comes about δι’ ἁμαρτίαν—because of an error, not because the hero is “flawed” in a modern psychological or ethical sense…

[Bate locates this reading in the larger corpus of Aristotle’s thinking, then traces the evolution of the reading of hamartia— and of the culture(s) that informed those understandings. He concludes…]

… the history of hamartia traces a remarkable arc: from error in action, to moral fault, to sin, to vice, to psychological flaw. Each step made sense within its own intellectual climate, yet the cumulative effect was to impose on Aristotle a conception of tragedy he would scarcely have recognized. What began as a missed mark became a stain on the soul. And with that shift, tragedy itself was subtly transformed—from a meditation on human fallibility into a lesson on personal failure…

The history of a misreading: “Aristotle and the so-called Tragic Flaw,” from @profbate.bsky.social.

* Old Italian adage: “translator, traitor” (or, “to translate is to betray”) See here and here.

###

As we tangle with tragedy, we might recall that it was on this date in 1904 that Giacomo Puccini‘s Madama Butterfly premiered at La Scala in Milan. The tragic opera (with a libretto by  Luigi Illica and Giuseppe Giacosa) was based on the 1898 short story “Madame Butterfly” by John Luther Long, which in turn was based on stories told to Long by his sister Jennie Correll, and on the semi-autobiographical 1887 French novel Madame Chrysanthème by Pierre Loti. Long’s version was dramatized by David Belasco as the one-act play Madame Butterfly: A Tragedy of Japan, which, after premiering in New York in 1900, moved to London, where Puccini saw it in the summer of that year.

The premiere in Milan was a fiasco, beset by several bad staging decisions, from the lack of an intermission during the second act to the device of giving audience plants nightingale whistles to deepen the sense of sunrise in the final scene– which the audience took as a cue to make their own animal noises. Today Madama Butterfly is considered a masterpiece and is the sixth most performed opera in the world.

“Traduttore, traditore”*…

Translation is key to communication across cultures– and across time. But as the old Italian adage above suggests, transaction is difficult; indeed, translation is sure, from time to time, to fail. (C.f., e.g., here) The estimable Jonathan Bate shares a “tragic” example…

One of the most consequential misunderstandings in the history of literary criticism turns on a single Greek word. In Aristotle’s Poetics, that word is hamartia. It is usually rendered, in classrooms and handbooks, as “tragic flaw,” and on that translation an entire tradition of reading tragedy has been erected. Yet if we return to Aristotle’s Greek and trace the word’s history with some philological care, it becomes clear that this familiar formula rests on a slow but decisive mistranslation—less an error at a single moment than a long cultural drift in which a term meaning “mistake” gradually hardened into a doctrine of moral defect.

In classical Greek, hamartia belongs to the language of action rather than character. Its root sense is concrete and kinetic: to miss one’s mark, as an archer misses the target. By extension, it denotes an error, a misjudgment, a false step—often one made in ignorance of some crucial fact. Aristotle uses the term this way throughout his works, ethical and otherwise. In the Poetics, when he says that the tragic hero falls into misfortune “because of hamartia,” he is careful to exclude two alternatives. The hero does not fall because he is wicked, nor because he is exceptionally virtuous. Tragedy, for Aristotle, does not punish vice or reward goodness; it stages the vulnerability of human action to error within an intelligible but unstable world. The downfall comes about δι’ ἁμαρτίαν—because of an error, not because the hero is “flawed” in a modern psychological or ethical sense…

[Bate locates this reading in the larger corpus of Aristotle’s thinking, then traces the evolution of the reading of hamartia— and of the culture(s) that informed those understandings. He concludes…]

… the history of hamartia traces a remarkable arc: from error in action, to moral fault, to sin, to vice, to psychological flaw. Each step made sense within its own intellectual climate, yet the cumulative effect was to impose on Aristotle a conception of tragedy he would scarcely have recognized. What began as a missed mark became a stain on the soul. And with that shift, tragedy itself was subtly transformed—from a meditation on human fallibility into a lesson on personal failure…

The history of a misreading: “Aristotle and the so-called Tragic Flaw,” from @profbate.bsky.social.

* Old Italian adage: “translator, traitor” (or, “to translate is to betray”) See here and here.

###

As we tangle with tragedy, we might recall that it was on this date in 1904 that Giacomo Puccini‘s Madama Butterfly premiered at La Scala in Milan. The tragic opera (with a libretto by  Luigi Illica and Giuseppe Giacosa) was based on the 1898 short story “Madame Butterfly” by John Luther Long, which in turn was based on stories told to Long by his sister Jennie Correll, and on the semi-autobiographical 1887 French novel Madame Chrysanthème by Pierre Loti. Long’s version was dramatized by David Belasco as the one-act play Madame Butterfly: A Tragedy of Japan, which, after premiering in New York in 1900, moved to London, where Puccini saw it in the summer of that year.

The premiere in Milan was a fiasco, beset by several bad staging decisions, from the lack of an intermission during the second act to the device of giving audience plants nightingale whistles to deepen the sense of sunrise in the final scene– which the audience took as a cue to make their own animal noises. Today Madama Butterfly is considered a masterpiece and is the sixth most performed opera in the world.

Right now, #Puccini's 'La bohème' with López Moreno, Pirgu, Rancatore and Alaimo from #Rome
https://www.worldconcerthall.com/en/schedule/puccinis_la_bohme_with_lpez_moreno_pirgu_rancatore_and_alaimo_from_rome/90838/ #wch

In 20 minutes, #Puccini's 'La bohème' with López Moreno, Pirgu, Rancatore and Alaimo from #Rome
https://www.worldconcerthall.com/en/schedule/puccinis_la_bohme_with_lpez_moreno_pirgu_rancatore_and_alaimo_from_rome/90838/ #wch

Today, #Puccini's 'La bohème' with López Moreno, Pirgu, Rancatore and Alaimo from #Rome
https://www.worldconcerthall.com/en/schedule/puccinis_la_bohme_with_lpez_moreno_pirgu_rancatore_and_alaimo_from_rome/90838/ #wch

Right now, two #Strauss, two #Kreislers #Killmayer #Puccini #Millöcker #Rihm and #Ravel from #Leipzig https://www.worldconcerthall.com/en/schedule/two_strauss_two_kreislers_killmayer_puccini_millocker_rihm_and_ravel_from_leipzig/90790/ #wch

In 20 minutes, two #Strauss, two #Kreislers #Killmayer #Puccini #Millöcker #Rihm and #Ravel from #Leipzig https://www.worldconcerthall.com/en/schedule/two_strauss_two_kreislers_killmayer_puccini_millocker_rihm_and_ravel_from_leipzig/90790/ #wch

Today, two #Strauss, two #Kreislers #Killmayer #Puccini #Millöcker #Rihm and #Ravel from #Leipzig https://www.worldconcerthall.com/en/schedule/two_strauss_two_kreislers_killmayer_puccini_millocker_rihm_and_ravel_from_leipzig/90790/ #wch

Right now, New Year's Concert from #Prague: #Berlioz #Leoncavallo #Verdi #Puccini and more https://www.worldconcerthall.com/en/schedule/new_years_concert_from_prague_berlioz_leoncavallo_verdi_puccini_and_more/90713/ #wch

In 20 minutes, New Year's Concert from #Prague: #Berlioz #Leoncavallo #Verdi #Puccini and more https://www.worldconcerthall.com/en/schedule/new_years_concert_from_prague_berlioz_leoncavallo_verdi_puccini_and_more/90713/ #wch

Today, New Year's Concert from #Prague: #Berlioz #Leoncavallo #Verdi #Puccini and more https://www.worldconcerthall.com/en/schedule/new_years_concert_from_prague_berlioz_leoncavallo_verdi_puccini_and_more/90713/ #wch

Bei der Bühnentechnik ist was kaputt gegangen und dann war die Pause 45 Minuten lang weil versucht wurde, das zu fixen und dann gab es eben nur ein halbes Bühnenbild 😅
Es ist anscheinend kein bisschen übertrieben, dass die Technik der Oper Frankfurt ziemlich marode ist 😐

Ansonsten sind Opern von Puccini sehr toll, also geht mal in eine.
#Frankfurt #Puccini #Tosca #Oper

Right now, New Year's Concert from #Venice: Feola and Tetelman sing #Mascagni #Ponchielli #Rossini #Verdi and #Puccini https://www.worldconcerthall.com/en/schedule/new_years_concert_from_venice_feola_and_tetelman_sing_mascagni_ponchielli_rossini_verdi_and_puccini/90691/ #wch

In 20 minutes, New Year's Concert from #Venice: Feola and Tetelman sing #Mascagni #Ponchielli #Rossini #Verdi and #Puccini https://www.worldconcerthall.com/en/schedule/new_years_concert_from_venice_feola_and_tetelman_sing_mascagni_ponchielli_rossini_verdi_and_puccini/90691/ #wch

Today, New Year's Concert from #Venice: Feola and Tetelman sing #Mascagni #Ponchielli #Rossini #Verdi and #Puccini https://www.worldconcerthall.com/en/schedule/new_years_concert_from_venice_feola_and_tetelman_sing_mascagni_ponchielli_rossini_verdi_and_puccini/90691/ #wch

https://www.europesays.com/it/283929/ Fenice, la spilla di protesta degli orchestrali contro la nomina di Beatrice Venezi #agitando #AgitandoTeatro #arie #ArieCori #beatrice #BeatriceVenezi #brani #capodanno #concerto #cori #coro #direttore #DirettoreMusicale #Entertainment #fenice #giovedì #Intrattenimento #IT #Italia #Italy #mariotti #Mascagni #musicale #musicisti #nomina #opera #orchestrali #polemica #PolemicaAgitando #PolemicaAgitandoTeatro #protesta #puccini #riecheggerà #RiecheggeràSilenziosa #sfida

Right now, #Puccini's 'Tosca' with Bakhritdinova, Montvidas, Smoriginas and Jankauskas from #Kaunas https://www.worldconcerthall.com/en/schedule/puccinis_tosca_with_bakhritdinova_montvidas_smoriginas_and_jankauskas_from_kaunas/90636/ #wch

In 20 minutes, #Puccini's 'Tosca' with Bakhritdinova, Montvidas, Smoriginas and Jankauskas from #Kaunas https://www.worldconcerthall.com/en/schedule/puccinis_tosca_with_bakhritdinova_montvidas_smoriginas_and_jankauskas_from_kaunas/90636/ #wch

Today, #Puccini's 'Tosca' with Bakhritdinova, Montvidas, Smoriginas and Jankauskas from #Kaunas https://www.worldconcerthall.com/en/schedule/puccinis_tosca_with_bakhritdinova_montvidas_smoriginas_and_jankauskas_from_kaunas/90636/ #wch

RE: https://mastodon.world/@Trilobyter/115746916234505437

Sì, sì, ci voglio andare!
e se l’amassi indarno,
andrei sul Ponte Vecchio,
ma per buttarmi in Arno!
— Lauretta in Gianni Schicchi

#operaQuote #Puccini #GianniSchicchi #Lauretta #OhMioBabbinoCaro

Right now, #Schubert #Tomasi with Banks #Puccini and the #Strauss from #Pittsburgh https://www.worldconcerthall.com/en/schedule/schubert_tomasi_with_banks_puccini_and_the_strauss_from_pittsburgh/90241/ #wch

In 20 minutes, #Schubert #Tomasi with Banks #Puccini and the #Strauss from #Pittsburgh https://www.worldconcerthall.com/en/schedule/schubert_tomasi_with_banks_puccini_and_the_strauss_from_pittsburgh/90241/ #wch