What I mean is scenes without musical breaks/recitative (so one could, in principle, sing-along at home) and not overly long (so not whole sung-through operas), with multiple "things"/elements happening. Is there a special term for these "action-packed ensembles" (as opposed to "just singing about something" ensembles and arias)?

I could imagine a modern, popular, "low attention-span" opera having a "thing"/element happening every 30 seconds.

I have some annotated examples that I know of (tell me of more!):

Povero Rigoletto / Cortigianni, vil razza dannata! (Rigoletto, Verdi, https://www.youtube.com/watch?v=JULs5RoCEgM (no subtitles)):
Rigoletto approaches and questions the courtiers. He finds a handkerchief, but not hers.
A page boy arrives and enquires after the duke -- oh, so he is here?
She is my daughter! (The courtiers stop/restrain him.)
Courtiers are scum! (Musical change.)
Swords are drawn.
Rigoletto begs Marullo, then the other courtiers.
6 elements in 8 minutes, so 3/4 of an element per minute.

The other ones that come to mind are Mozart (surely others did more):

Cosa sento! tosto andate (Le Nozze di Figaro, Mozart, https://www.youtube.com/watch?v=A9uBt1v9fOQ ):
Count: Where is that puny, horny pest?
Susanna faints, then rejects their help.
Count informs of Cherubino's activities.
Count discovers Cherubino.
You slut!
5 elements in 5 minutes, so 1 element per minute (though I have come across a 4 minute recording).

Eccovi il medico, signore belle (Cosi fan tutte, Mozart, https://www.youtube.com/watch?v=O1A5YcWVNyA ):
"Doctor" arrives, questions and examines patients.
I have a cure! (A magnet.)
Uses magnet.
Ladies hold heads of patients -- cured!
4 elements in 3 minutes, though one might divide it into more or fewer. At least one per minute.

Hm! hm! hm! hm! (Zie Zauberflöte, Mozart, https://www.youtube.com/watch?v=tFPQTeEOFbM ):
Papageno is gagged and wants help.
The three ladies free his mouth.
They give the flute to the prince.
They tell Papageno to accompany the prince, he complains.
They give bells to Papageno.
They introduce three boys to lead them on their quest.
6 elements in 6 minutes.

Notte e giorno faticar (Don Giovanni, Mozart, https://www.youtube.com/watch?v=GGPp6ghdIeM )
Lepporello is fed up and wants to be a gentleman.
Someone is coming!
You fiend!
Leave her alone and fight me!
Fine, then, if you want to die! (Musical change.)
<Fight!>
I am dying!
7 elements in 5 minutes, so more than 1 per minute.

In addition to the 19th century examples that I expect to be most common, I would particularly like to know of Baroque ones. Monteverdi might be a good source, but my recollection is that most of his scenes move very slowly (but beautifully!), while later Baroque seems particularly bereft of this kind of thing.

Also, anything with fighting in it would be cool (explosions and pyrotechnics optional).

I'm watching it live soon and I'm not too familiar with that particular opera. What are some good recordings of it? (I don't care about the sound, so they can be live)

Does anyone know of a printed score of The Ring that highlights the various leitmotifs?

What are the most difficult arias to perform for a tenor or just the most difficult arias overall?

I just started using the Met app just now. I purchased two tickets for Tosca with Radvanovsky next January for me and a friend. My friend has the Apple Wallet and I have a droid. I sent her the snapshot of her ticket but she was wondering if there's a way to share a ticket in the Met App with an Apple Wallet. Anyone know?

My dad has always wanted to see an opera at the Civic Theatre and they’re putting on La Boheme this season… I know next to nothing about opera. My dad is in his 40s, he went to art school, but he’s still kind of traditional. Would this be a cool thing for him to see? I want to get him tickets as a Christmas gift

And thank you. 🥹

https://youtu.be/xj9a57YIUyM?si=f4QORhi8OPMugpuk

I have been comparing the two performances. Seen both live and now watching them on met on demand. Behrens et all in that cast in the older production are hair raising and as some older opera fans would say " demented". And the production seems to fit. The chereaux production leaves me " meh". I appreciate stemme as an artist but.. in this role..or is it the production that makes it so "ok". Chereau has an interesting take on the mother but it doesnt seem to fit the composers intent. any opinions?

I saw this clip that I linked of a cat walking on stage during a performance of Tosca and the song he's singing sounds beautiful. Does anyone know what song/selection from Tosca this gentleman is singing?

https://www.youtube.com/watch?v=tVcF_L8AS1U&ab_channel=DiplomaticEcoStrategist

The MET is where my mind was blown by opera some years ago. It's my dream to be part of the complex machinery that makes every performance work.

I'm hoping to connect with someone who knows a little about effective ways to get into the MET? I have a background in art, lots of manual/technical work and some sound production.

Their website has an ever-open stagehand position to apply to - but there's has to be a better way! better than having my resume sit on the cloud waiting for a miracle

Would appreciate any ideas!

https://www.youtube.com/watch?v=J7y7kaYeSfM

I know it's a very popular work for a reason, but I think there are deeper layers to its brilliance. While the music may not seem adventurous at first, with its (subjectively) straightforward orchestral accompaniments and standard harmonies; it perfectly matches the narrative. Aside from a great music/story balance, I'm impressed with the subtleties, especially how Verdi paces the vocal lines against a “static” musical background.

For example, the "argument" between Alfredo and Violetta at the end of Act Two. The orchestral part features quick measured 8-bar phrase ostinatos, while the vocal dialogue is quick and natural, which enhances the drama.

Of course Verdi is a master of melodies, and La Traviata has many great ones. However, he is so skillful with balancing those with moments of action without relying on revolutionary techniques (e.g, Wagner or Mussorgsky in "Boris Godunov") which creates a compelling musical narrative.

Hi! I'm 19 years old, and in my sophomore year of undergrad at the Lamont School of Music, at the University of Denver. I've been singing opera in a professional setting since I was 13, when I started at the San Diego Opera. Since then, I've been in many operas and scenes, and I attended Interlochen Arts Academy for opera as well. I'm currently getting my BA in vocal performance.

I'm looking into studying abroad next fall, and I was wondering if anyone has any suggestions of places I should look. I included studios in the title because I can also find a university, and take lessons in the area as well.
My voice is a very full one, and a bit on the heavier side.
Language barrier shouldn't been too much of a consideration.

some rep that I've done so you can get a general sense for where I'm at vocally:

-Aeneaus from Dido And Aeneaus (full opera, up the octave from the tenor line)
-Second Witch from Dido
- (upcoming) mistress of novices in suor (as a cover)
-(upcoming) Suor Osmina
plus a bunch of other scenes
as for repertoire itself, I'll list what I've done more recently:
- Lied der Mignon
- Spring is At the Door- quilter
-der kranz
- connais tu le pays
-l'absence
-l'ora e tarda
- vouchsafe o lord
- Addio, fanciulla
- (currently working on) Che faro, as well as finding nine other songs for my sophomore jury.

thank you!!!

This is a ramble post because wiriting how I feel makes me feel better.

A few days ago I submitted my pre screens for college admissions. Some schools only want a live audition and some approve pre screens and then want a live audition or multiple. But the wait is dreadful. I have to wait a month at most to see if all my hard work has paid off or was "meaningless". I dont even know if they'll consider me for a different major if I'm not admitted. I only applied to a few conservatories but most were out of complete universities. I'm just so worried. What if I get admitted into none and they don't do considerations for another major and then I can't go to college until the next school year after because all the results were after the deadline. Waiting and staying home is not a possibility for me due to personal matters but that outcome is hellish to me. My view of my singing is completely skewed due to my self esteem. I sound 5x better if I cover my face while looking at my auditions. I just don't know. My opera coach is very critical of me but she says that my voice is just normal for an audition but I have a lot of potential. Idk if its just the kind of person she is but I don't get much praise, yet again she is a teacher but it still gives me heartache. God I just want the results now so I can sleep at night. I dont consider myself to be as good as others at all when it comes to opera or classical singing. I also have no idea what the general applicant sounds like. Did anyone else think they sounded crappy and got into a good or okay school or even a great one. I had to audition for many schools so I couldn't focus on one. But if I get into a good school then I can focus everything on one( I think) and maybe my pre screens won't matter. Only if they take my pre screens. I really want to go to eastman or nyu. Really badly. I spend a lot of time on ap classes and honors classes and getting straight As. I dont wanna get into a school were some kids have a GPA of 3. It may sound dickish but a harsh curriculum is important to me. Shouldn't the higher base GPA needed to get in the "smarter" the school. Not for music specifically but in general. Ive also been having doubts about what I want. Pouring money and time into a degree and I might not even want it. I'm doing classical voice and not contemporary because that's just the kind of voice I have and that's also where I see jobs come from. I dont know much of anything and I dont want me being uninformed or naive to ruin my life. There's so much going on in my brain and I just can't relax. I really just want to get into a prestigious school. Cause I feel like I through away my merit for a school that will take anyone. That hurts. And still after all this I dont even know if its what I really want anymore. Standing up there for hours recording takes did something to my brain that I did not like. Im really only doing this major for the skill aspect. I dont care for acting or dancing or stageplay. A dream of mine is to sing my own songs for a stage in my own costume telling my own story. I dont know how my life will turn out. I dont know anything yet. I'm sorry for the word vomit post but I have nobody to speak to so I just want to ramble here.

Hey everyone. First time going to the Met this month. I'm a 6'5" rotund dude trying to find a seat that will:

1. Not cramp the style of the person next to me
2. Not block the view of the poor person behind me
3. Provide adequate leg room for me for 4 hours
4. Have a decent mix of good visuals and acoustics

My current seat is the very far end seat house left of the first row of the grand tier. I'd be fine switching to anywhere else, though the parterre is out of my budget.

I've been searching for an answer, but I keep seeing conflicting advice on leg room and seat width, and I wanted to hit y'all up with my specific questions. Thank you in advance!

I’m completely obsessed with opera! And I am a card carrying member of the Metropolitan opera, but I’m ready to venture out beyond the walls of the Met. What complete “Ring” should I go to? It can be the States or Europe the only limitation is my wallet lol Is it hard to find hotels? Are there travel agencies that do it all for you?

His Mozart stuff was amazing, but he really darkened his tone.

Hi, i am fron Madrid and i would like to invite my parents to see the opera for our first time. Could someone recommend me?

Angelina Jolie is playing Maria Callas in a Netflix biopic:

https://en.wikipedia.org/wiki/Maria_(2024_film)

According to the "production" section, Jolie trained to sing the operatic parts, but will actually be lip syncing to many of Callas' recordings. So I hope Jolie's singing is minimal (no offense to her, but it takes more than a few months' training to excel at opera).

It looks like the reviews are mixed, with one critical review dismissing it as "a garish fashion show disguised as a funeral," but honestly this description intrigues me.

Same as the title. I am kind of curious of what specific challenges or skills might be entailed by doing that kind of specific repertoire, as opposed to say, being a Mozart or Baroque expert.

Hi! I know there have been many posts like this but I’m really desperate for some outsider advice. I’d be so grateful for some insight here.

I completed my Bachelor’s in vocal performance from a generic state school last year, with no debt. During undergrad I had the opportunity to perform regularly, due to the small program size—I got lead roles in all our operas and musicals, and the opportunity to work in professional regional theater last year. I had an excellent voice teacher who encouraged me to get over my fears and put it all on the line to launch a career in opera, so last year I applied to some MM programs and was accepted to all, including IU Jacobs and BU. I didn’t receive scholarships and had total sticker shock, so I opted to take a year off and reevaluate. Over the summer I was a resident at a semi-professional summerstock company and had the time of the life; it both made me so excited about a future in opera but also showed me how ruthless and competitive the industry is. I was working with 24-26 year old who were so incredibly talented but who, quite frankly, were just not booking roles. After $100k+ in conservatory debt. Yeesh.

Now, I’m going through a second round of grad auditions with more clarity but lots more anxiety and doubt. I am currently working a job that pays well and has the potential to become a salaried position with benefits. However, I am miserable when I’m not performing and I still hope to pursue my MM next year. I’m applying to some big-name schools (Boston Conservatory, SFCM) just for fun, but much more interested in state schools that offer scholarships and assistantships—my list right now includes Texas State, Cal State Northridge, and Portland State.

I am likely a soubrette right now, and have sung lots of light opera and golden age musical theater. I love theater and am more interested in having some sort of career in light opera and legit musical theater than traditional opera. My dream career involves residencies at light opera companies, G&S repertories, and well-known regional theaters. I do see this as feasible if I can get the right teacher in grad school without plunging into debt. I will have about $50k to work with for a Master’s degree, which gives me some flexibility in terms of choices but definitely not enough for a full-price conservatory education.

Here’s where I want some input. Is it a viable career path to get an MM at a state school while working another job? Is there a significant advantage in attending a conservatory in 2025? Do you know of any excellent teachers at the state schools I’ve mentioned, or schools similar? I’d specifically love to know if anyone has had excellent experience studying at CSUN, any other Cal State schools, or any Oregon schools. Looking for teacher recs as well!! Thanks so much—help me make the right decision for myself!

Looking for an opera duet to sing at a wedding next year. My mom suggested that I (sister of groom) and brother of bride surprise everyone with a song at the reception... we are both classically trained singers, though neither currently sing. I am (was?) a lyric soprano with a high extension and I believe he is a tenor....

I was thinking brindisi from Traviata, but would love other ideas!

Any ideas for other duets appropriate for this venue that aren't opera?

How would you handle accompaniment? Pre-recorded track? Hire a pianist? (I think they will have a band?)

I need one with a track record of success who lives in the midwest.

Think Caruso, Luisa Tetrazzini and Lilli Lehmann. Old school. You know 😉

Does anybody know what music is played over the Live in HD logo, the one with the satellite in space? I can't find a video of it online unfortunately.

Is it something from Götterdämmerung?

I didnt expect tickets to be so expensive. For example you pay 90 euros for a performance with 0% view.

I’m very new to opera (I’ve only seen one so far, Turandot earlier this year at the Met) but I absolutely loved it and want to go again when I’m in NY next week for work.

When I’m there, they’ll be doing Il Trovatore one night and Die Frau Ohne Schatten the other. I am so new to opera that I really don’t know enough to have a preference. If you had to choose, which one would you go to see?

Edit: the wisdom of the masses has spoken! I’ll see Frau next week and I’m really excited!

https://www.metopera.org/discover/video/?videoName=puccini-at-the-met-a-historical-rhapsody&videoId=6365223927112