cwsox

sounds like you are getting your wish! and mine too!

We need to have him make it because how cool is the name Yofu!

Dr J never won a ring? I thought he did but I am too lazy to look it up

I didn't know that! When did that happen - who was involved - how did it come out?

this book will probably backfire on Beane big time - no one likes a braggert arrogant smart ass talking on himself

looks like JM will be safe - and the liberated players may go on a 6-0 tear!

hope he gets his 14 wins and a few more - I am looking forward to him being back too!

When we start getting 200+ listeners i'd be stupid not to charge. lol I doubt we'll ever charge money. If we ever got big enough to where we had to charge just to keep up on servers and equipment, someone in the front office would shut us down . No one has bothered us yet. And if they ever do, we better make the 10:00 news! that will make us all so proud!

exactly right!

lol.. we really need a few new smileys here ... i request a zen one, ya know the ying and yang thing........so we can all be in tune with the dugout.......... YO DUDE! all sounds good to me!

true...kinda a reach on my part there...ill give ya this one..we'll just leave it at im not fan of jimenez...now im gonna go get a drink one for me -

ritchie win? clayton grand slam?

have I failed to mention Wagner? I must make up for the omission DW3 Classical Music Resources : Composers : Romantic : Richard Wagner : * Bayreuther Festspiele Home Page German * The Case of Wagner: A Musicians Problem, excerpts of Freidrich Nietzsche's 1888 essay Der Fall Wagner. English translation by Walter Kaufmann. * Der Fall Wagner, essay by Friedrich Nietzsche. German * La Hemeroteca Wagneriana: Archivo Richard Wagner en español, a sizeable collection of articles written by and about Richard Wagner and his music. Site maintained by Francisco Javier Gordillo. Spanish * Monsalvat: The Parsifal Home Page by Derrick Everett. * Musical Themes of Der Ring Des Nibelungen, a comprehensive guide to the "leitmotivs" of Wagner's Ring by Allen B. Dunning, M.D. * Nietzsche and Wagner, biographical essay by Helmut Walther. * Opera Glass: Richard Wagner, performance histories, synopses, and libretti for many of Wagner's operas. Site created and maintained by Rick Bogart. * The Perfect Wagnerite: A Commentary on the Niblung's Ring. A downloadable version of George Bernard Shaw's book about Wagner. Project Gutenberg Release #1487 (October 1998) * Planete Wagner, the website of the Cercle Richard Wagner Marseille Provence, France. Provides information about the composer and his works, including a worldwide schedule of performances of Wagner's operas. French * Richard Wagner by Barry Millington et al. Article in the New Grove Dictionary of Music and Musicians II. (Remote access to this resource is limited to Duke University faculty, students and staff.) * Richard Wagner Archive (2), includes biographical information, a catalog of works, a complete list of Wagner's writings (including digitized texts of several of his essays), and much more. Site created and maintained by Hannu Salmi. * Richard Wagner: Der Ring des Nibelungen by Michael Davis. * Richard Wagner: Der Ring des Nibelungen, focuses on the leitmotifs and the tonal structures of the Ring. Includes synopses for all four operas. Page by John Weinstock. * Richard Wagner: Dramatiker und Komponist, essays on the Ring and Rienzi by Dirk Meyer. German * Richard Wagner Home Page, beginner's guides to Wagner's operas by Jose Antonio Amaral. * Richard Wagner: Leitmotives and Libretti (2) (3). Here you will find the libretti and all leitmotives of Der Fliegende Holländer, Tannhäuser, Lohengrin, Tristan und Isolde, Die Meistersinger von Nürnberg, Der Ring des Nibelungen, and Parsifal. Page by Fabrizio Calzaretti. * Richard Wagner: Parsifal, erster Aufzug by Hans Zimmermann. German * Richard Wagner: Projekt Gutenberg - Here you will find the librettos to a number of Wagner's operas including the entire Der Ring des Nibelungen (Das Rheingold, Die Walküre, Götterdämmerung, and Siegfried), Lohengrin, and Die Meistersinger von Nürnberg. German * Richard Wagner Web Site, essays on Wagner and his music by Kristian Evensen et al. Includes a comparative chronology and a well-annotated list of Wagner-related sources (discography, bibliography, videography, and links). * Tristan und Isolde, leitmotivs and complete libretto with English translation. Page by Joseph Rosenzweig. * Variations Online Musical Scores Project: Wagner / Indiana University Music Library Der Fliegende Holländer : opera in three acts : piano-vocal score : larger, scrollable version Der Ring des Nibelungen Part 1 : Das Rheingold : opera in one act : piano-vocal score : larger, scrollable version Part 2 : Die Walküre : opera in three acts : piano-vocal score : larger, scrollable version Part 4 : Götterdämmerung : opera in three acts : piano-vocal score : larger, scrollable version Tristan und Isolda : opera in three acts : piano-vocal score : larger, scrollable version * Wagner and the Jews, a book-length essay by Simon Weil. * Wagner Library, English translations of Wagner's prose works, letters and articles. Site maintained Patrick Swinkels. * Wagner: Zenith of German Romanticism, essay by Charles K. Moss. * Wagnermania by Román Rodríguez. Includes biographical information, librettos, synopses, and images. Spanish * Wagner's Sources by Jane Ennis. An essay based on the author's doctoral dissertation, A Comparison of Richard Wagner's "Der Ring des Nibelungen" and William Morris's "Sigurd the Volsung (University of Leeds, 1993). * WagnerWeb, provides information on nearly every aspect of Wagner's life and music, including libretti and synopses for all of his dramatic works. Site by Gerrit Diesinger. German * Walhalla, European and German history and culture as illustrated by the lives and works of emblematic figures such as Richard Wagner. To view the Wagner-related pages, click on the Walhalla icon, then select Portraits and Richard Wagner. Site by Michel Lambinon. French * La Web de Richard Wagner by Jon Foruria Murelalaga. Spanish w/ German librettos * www.parsifal.de by Wolfgang Schmalzl. Includes synopses and the complete libretti of Wagner's operas beginning with the Der Fliegende Holländer, plus background information. German Duke Online Catalog: Books about Richard Wagner's Life and Music : Videos about Wagner Music by Richard Wagner : Recordings Only : Scores Only Writings of Richard Wagner Music Library Duke University Durham, NC USA Last Update: Thursday, 06-Feb-2003 09:59:54 EST Search DW3:

there is never a need to choose between watching the Sox and having sex - it is easy to do both - and there was never a night when, regardless of what the Sox did, they we didn't go extra innings - now that is enough information

the ladies always know how to size up dudes

you could also blame Fox tv which wanted something to give a ratings boost and you when when money is placed in front of Selig's face he sucks it like a tootsie roll...

hey keep me and (you know who) in your prayers - there is a real shot of a reunion - we used to have some great sex while watching the games - and damn it, it's time! I'm ready to play!

besides seasons tickets to the Sox and UM football, also have them for the Lyric Opera - and I will be attending one-half of all of Eminem's 2003 concerts too - I have a wide range of interests

Which is as it should be - let JM manage and succeed or fail without the Cell Phone King interfering in every move - I think it is great that in a choice between the GM and manager, KW and EE chose the manager - that will allow JM all he needs, whoever the new GM is, to sink or swim on his own

Hey my love! The opera we saw was Susannah by Carlisle Floyd and it was one of my personal highlights in 2002 taking you - you know me, when the overload button goes on, I start talking opera - and I have only just begun to post opera stuff! The more these threads become personal vendettas and vicious between a few people, the louder I want to sing opera - you and I make such sweet music together! let's go on tour! We can begin by saluting KW's departure with the Hallelujah chorus!

if no one picks up D Lo next time he lays down by 2nd, we can play Miles there

it would be you the revival of Handel's operas and all baroque operas has given rise to a new generation of male counter tenors and sopranos Yahoo! Groups Home - Yahoo! - Help Welcome, westchamp1 Start a Group - My Groups - Account Info - Sign Out castratiandcountertenors · castrati and countertenors - A place for modern Castrati, Countertenors + fans [ Join This Group! ] Click Here! Home * Messages Members Only Chat Files Photos Links Database Members Calendar Promote Messages Messages Help Expand Messages Using 1.6 of 512 MB (0%) 112-141 of 664 | Previous | Next [ First | Last ] Msg # Date | Thread Subject Name/Email Yahoo! ID Date Size 112 Hi everybody :{)!! eliezerabello eliezerabello Sat 1/12/2002 1 KB 113 Re: Hi everybody :{)!! davidzechman davidzechman Mon 1/14/2002 2 KB 114 Re: Hi everybody :{)!! eliezerabello eliezerabello Mon 1/14/2002 1 KB 115 Derek's mp3 eliezerabello eliezerabello Fri 1/18/2002 1 KB 116 counter tenor lessons Kapiti_plain Kapiti_plain Thu 1/24/2002 1 KB 117 Re: counter tenor lessons eliezerabello eliezerabello Thu 1/24/2002 1 KB 118 Re: counter tenor lessons Kapiti_plain Kapiti_plain Thu 1/24/2002 1 KB 119 Re: Male Sopranos davidzechman davidzechman Fri 1/25/2002 2 KB 120 Re: Male Sopranos erzebetuk erzebetuk Fri 1/25/2002 2 KB 121 Re: Male Sopranos erzebetuk erzebetuk Fri 1/25/2002 1 KB 122 Re: Male Sopranos erzebetuk erzebetuk Fri 1/25/2002 1 KB 123 Re: Male Sopranos real_kael real_kael Sun 1/27/2002 2 KB 124 Re: Male Sopranos davidzechman davidzechman Sun 1/27/2002 2 KB 125 listen to this, tell me what U think Kapiti_plain Kapiti_plain Mon 1/28/2002 1 KB 126 New Member kf85234 kf85234 Wed 1/30/2002 1 KB 127 Re: New Member erzebetuk erzebetuk Thu 1/31/2002 2 KB 128 Looking for countertenors/teachers! sunshineboy_dave sunshineboy_dave Thu 1/31/2002 1 KB 129 Difficult question felicesalimbeni2002 felicesalimbeni2002 Wed 2/6/2002 2 KB 130 Re: Difficult question baroquesmguy baroquesmguy Wed 2/6/2002 2 KB 131 Re: Difficult question takooda takooda Wed 2/6/2002 2 KB 132 Re: Difficult question horvalis horvalis Wed 2/6/2002 2 KB 133 Hot topic felicesalimbeni2002 felicesalimbeni2002 Wed 2/6/2002 2 KB 134 Re: Difficult question mph061 mph061 Wed 2/6/2002 3 KB 135 Re: Difficult question horvalis horvalis Wed 2/6/2002 2 KB 136 Re: Difficult question horvalis horvalis Wed 2/6/2002 2 KB 137 Re: Difficult question erzebetuk erzebetuk Wed 2/6/2002 2 KB 138 Re: Difficult question erzebetuk erzebetuk Wed 2/6/2002 1 KB 139 Re: Difficult question davidzechman davidzechman Thu 2/7/2002 4 KB 140 Re: Difficult question erzebetuk erzebetuk Thu 2/7/2002 2 KB 141 Volume? felicesalimbeni2002 felicesalimbeni2002 Thu 2/7/2002 2 KB 112-141 of 664 | Previous | Next [ First | Last ] Msg # Date | Thread Expand Messages Using 1.6 of 512 MB (0%) Copyright © 2003 Yahoo! Inc. All rights reserved. Privacy Policy - Terms of Service - Copyright Policy - Guidelines - Help - Ad Feedback

now of course Bizet's best is Carmen but to remember everything he wrote ... mfiles music files Amazon.com Amazon.com Shop Now! Best of the Millennium Tomaso Giovanni Albinoni Shop Now! The Best Classical Album... Stanley Myers mfiles sheet music www.mfiles.co.uk 5 May 3903 Home Classical Other Styles Original Sheet Music MIDI MP3 Film Music Composers Reviews Composer Back Click Here! Georges Bizet (1838 - 1875) Geores Bizet is best known for his operatic masterpiece, Carmen. Not so well known is the fact that he died from a heart attack only a few months after its first performance at the age of 36. Death at such a young age immediately reminds us of Mozart, Mendelssohn and Schubert. His life parallels these composers also in the sense that he was yet another musical prodigy whose ability, encouraged by his musical parents, was exceptional. Despite being against the rules, he was admitted into the Paris Conservatory at the phenomenal age of 9! He was born in Paris and originally registered under the name Alexandre César Léopold Bizet, but then baptised as Georges by which name he was always to be known. With the exception of a few years in Rome, he stayed in or near Paris for most of his life. At the Conservatory he studied under many great musicians including professor Jacques Halévy. The Halévy family were to have quite an impact on Bizet's life, not least the fact that he was later to marry the professor's daughter Geneviéve and father a son Jaques, perhaps named after his grandfather. Continuing his precocious youth, he composed his first Symphony (in C) at age 17 (modelled closely on Gounod's Symphony No. 1 in D). Then in 1957 having previously won several prizes at the Conservatoire, he won the prestigious Prix de Rome. The comtemporary French composers of the day which influenced Bizet to varying degrees included Charles Gounod, Léo Delibes, Camille Saint-Saëns, Jules Massenet and the German born Jacques Offenbach. All of these were opera composers to some extent though often light or comic opera. In comparison, Bizet's operas and particularly Carmen tended to stand out as highly dramatic and dealing in deeper emotions. Though not straying too far from French traditions, he perhaps adopted some of the styles of Italian and German opera from Verdi and Wagner respectively. While he did make use of the newly invented Saxophone, he wasn't particularly known as a trend-setter. He seemed to change direction several times, dropping ideas that he had started, and seemingly insecure and sensitive to criticism. Although perhaps expected of artists, the public probably thought of him as something of a Bohemian outsider. Musically, he seemed to have a natural gift for melody and certain artistic confidence seems to flow from his music. When the Franco-Prussian war broke out in 1870, although exempt from national service as a Priz de Rome winner, Bizet nevertheless enlisted in the National Guard. Although many of his coutrymen and fellow musicians were highly nationlistic in their approach to the war, Bizet was far more down-to-earth in his understanding of the real horrors of war. Again we see a realism in his outlook on life which also manifested itself in his operatic story-telling. Major works by Bizet Above all Bizet aspired to be a composer of Opera, though his numerous (about 30 in total) works for that medium weren't universally successful. He also wrote various Orchestral works, keyboard pieces and songs. The following are his best known or most respected compositions: * Opera - The Pearl Fishers, set in exotic Ceylon (now Sri Lanka), with a famous duet for male voices * Opera - The Fair Maid of Perth * Opera - Djamileh * Opera - Carmen, in 4 acts, the most famous which we describe in more detail below. Orchestral suites from this opera are sometimes performed as stand-alone works in the concert hall. * Symphony in C - composed at age 17, this was not performed until 1935 * Rome Suite - orchestral suite intended as a Symphony * L'Arlésienne - (the girl from Arles, in Provence) this was originally composed for a limited group of instruments as incidental music to a play by Daudet, but later fashioned into 2 orchestral suites (including the well-known Farandole), the first suite by Bizet himself and the second after his death by a friend Ernest Guiraud * Chromatic Variations - for piano * Jeux d'Enfants (Children's Games) - for piano duet, but also sometimes heard in orchestral arrangements, "Trumpet and Drum" for example is simply begging to be arranged for Trumpet and Drum Jeux d'Enfants for piano duet is a delightful set of 12 pieces, each based on a different game (many still familiar today), including "The Swing", "The Top", "The Doll", "Wooden Horses", "Battledore and Shuttlecock", "Trumpet and Drum", "Soap Bubbles", "Puss in the Corner", "Blind Man's Bluff", "Leap Frog", "Little Husband, Little Wife", and "The Ball". All of these are great fun to play and as a sample, in our customary Sheet Music, MIDI and MP3 formats, we include La Toupie (The Top) and La Poupée (The Doll). Bizet's Carmen It is perhaps difficult to appreciate the affect that Carmen had on the music scene. It wasn't an immediate success with audiences, its subject matter being considered a touch scandalous. But its popularity increased after Bizet's death and has remained a firm favourite to this day. It is far removed from the stylised traditions of classical opera. Instead it is full of powerful passions, realistic in its depiction of events, and originally including spoken dialogue instead of recitative (sung speach) as was the custom. You might even say that it anticipated the gritty story-telling of the 20th century's film and TV media. The libretto was provided Henri Meilhac and Ludovic Halévy (another member of the Halévy family, Geneviéve's cousin). Bizet's music for Carmen is full of exciting rhythyms and orchestral colours. (Interestingly, though the music is sometimes criticised for not being authentically Spanish, it was later discovered that Bizet had unwittingly borrowed the Habañera theme from a Spanish composer, thinking that it was a traditional piece.) The story is based on a short novel by Prosper Mérimée about a Spanish gypsy. Carmen is one of the girls working in a cigarette factory. She seduces a soldier Don José, then dumps him for a Matador, Escamillo. Enraged, Don José murders Carmen. Among the familiar songs from Carmen we have the March of the Street Urchins, the Wooing Song, Habañera, the Letter Song, the Flower Song and who doesn't know the Toreador's Song? In 1943, Oscar Hammerstein II adapted Bizet's opera for the stage, calling it Carmen Jones. He kept the main storyline and the music, but changed the setting and lyrics considerably (remember "Beat out dat Rhythym on a Drum"?) by trasporting it into the American South. The film version of the musical starred Harry Belafonte as Joe (the Don José character), Dorothy Dandridge as Carmen now working in a WWII parachute factory and Joe Adams as Husky Miller, now a boxing champion. Recommendations: The full Jeux d'Enfants for piano duet is highly recommended and is available in a number of editions and arrangements such as this one from Sheet Music Plus in the US. Also available from Sheet Music Plus is a large variety of tunes from carmen arranged for various instruments and this piano arrangement of the music from l'Arlesienne. As you might imagine the french music publisher di-arezzo.com has a lot of Sheet Music by Bizet, and this box search box will help you find it: Search www.di-arezzo.com Amazon.com cover Pavarotti's Opera Made Easy-My Favou... Georges Bizet New $5.70! cover The Top 100 Masterpieces of Classica... Felix Mendelssohn New $12.83! Used $6.99! cover The Most Famous Opera Arias Giuseppe Verdi New $2.84! cover 40 Famous Marches Edward Elgar New $12.83! cover 25 Classical Favorites Wolfgang Amadeus M... New $2.49! cover Andrea Bocelli - The Opera Album ~ A... Giuseppe Verdi New $13.55! Used $7.75! (Prices May Change) Privacy Information TOP Home Classical Other Styles Original Sheet Music MIDI MP3 Film Music Composers Reviews FAQ BACK All material in mfiles is copyright © 1999-2001 Jim Paterson. All rights reserved. SEARCH

I yearn for getting smacked with a wet violin to the sounds of Aida. that can be arranged

Now I think I have posted before that my favorite handel oipera is Xerxes - I was so disappointed that I missed seeing Parenthope this year at the Lyric - what are other people's favorite Handel operas? GEORGE FRIDERIC HANDEL'S OPERAS ACCORDING TO THE HWV Senesino - Fr.Cuzzoni - G.Berenstadt 1 Almira (Der in Kronen erlangte Glücks-Wechsel) 3S (Almira, Bellante, Edilia) 3T, 2B (Fernando, Osman, Tabarco/ Consalvo, Raymondo) choir à 4; 3 trp., timp., 2 rec., 2 ob., bn., solo vl., va., and vc. str. & b.c. 2 Nero (Die durch Blut und Mord erlangte Liebe) music lost 3 Florindo (Der beglückte Florindo) music lost 4 Daphne (Die verwandelte Daphne) music lost 5 Rodrigo (Vincer si stesso è la maggior vittoria) 2S (Esilena, Florinda) 2S, A, T (Evanco*, Rodrigo14/ Fernando18// Giuliano) 2 rec., 2 ob., solo vl., str. & b.c. 6 Agrippina 2S, A (Agrippina, Poppea; Giunone) S, 2A, 3B (Nerone22 / Narciso1, Ottone*// Claudio, Lesbo, Pallante) 2 trp., timp., 2 rec., 2 ob., str. & b.c. 7a Rinaldo (1711 version) 5S, M (Almirena, Armida, Donna, Sirene I & II; Goffredo) S, 2A, T, B (Rinaldo16/ Eustazio21 [-], Mago13 // Araldo/ Argante) 4 trp., timp., flag., 2 rec., 2 ob., bn., solo hpcd., solo vl., str. & b.c. 7b Rinaldo (1731 version) 4S, M (Almirena, Donna, Sirene I & II; Armida) M, A, T, 2B (Rinaldo20/ Argante*// Goffredo/ Araldo, Mago) trp., 2 hrn., fl. picc. (flag.), 2 rec., 2 ob., bn., solo vl., str. & b.c. 8a Il pastor fido (1712 version) 2S, A (Amarilli, Eurilla [A]; Dorinda) S, A, B (Mirtillo22/ Silvio21 [s -> T]// Tirenio) choir à 4; 2 trv., 2 ob., bn., str. & b.c. 8b Il pastor fido ("Terpsichore", prologue to the 1734 version) S (Erato) A (Apollo12) choir à 4; 2 hrn., 2 rec., 2 ob., bn., str. & b.c. 8c Il pastor fido (1734 version) 2S, A (Amarilli, Eurilla; Dorinda) A, T, B (Mirtillo12// Silvio/ Tirenio) choir à 4; 2 hrn., 2 trv., 2 ob., bn., str. & b.c. 9 Teseo 4S (Agilea, Clizia, Fedra, Medea) S, 2A, B (Teseo22/ Arcane*, Egeo21// Ministro di Minerva [orig. S]) choir à 4; 2 trp., 2 rec., 2 trv., 2 ob., 2 bn., str. & b.c. 10 Lucio Cornelio Silla 3S (Celia, Flavia, Metella) S, 2M, B (Lepido22/ Claudio*, Silla21// Il Dio) trp., 2 rec., 2 ob., bn., str. & b.c. 11 Amadigi di Gaula 2S (Melissa, Oriana) S, M, A (Orgando*/ Amadigi16/ Dardano*) choir à 4; trp., 2 rec., 2 ob., bn., str. & b.c. 12a Radamisto (April 1720 version) S, A (Polissena; Zenobia) 3S, T, B (Fraarte5, Radamisto*, Tigrane*// Tridate/ Farasmane) 2 trp., 2 hrn., trv., 2 ob., 2 bn., solo vl., solo vc., str. & b.c. 12b Radamisto (December 1720 version) 2S (Polissena, Zenobia) 2S, M, 2B (Fraarte*, Tigrane [A]8/ Radamisto20// Tridate, Farasmane) 2 trp., 2 hrn., trv., 2 ob., bn., str. & b.c. 13 Muzio Scevola, Act 3 (Act 1 by F. Amadei, Act 2 by G.B. Bononcini) 2S, A (Clelia, Fidalma [-]/ Irene) 2S, M, B (Lucio Tarquinio* , Orazio8 [-]/ Muzio Scevola20// Larte Porsenna) 2 trp., 2 hrn.(, trv.), 2 ob., bn., str. & b.c. 14 Floridante S, A (Rossane [orig. A]/ Elmira) S, M, 2B (Timante5/ Floridante20// Coralbo, Oronte) 2 trp., 2 hrn., 2 rec., 2 ob., 2 bn., str. & b.c. 15 Ottone, Re di Germania 2S, A (Gismonda [A], Teofane/ Matilda ) M, A, B (Ottone20/ Adalberto6 // Emireno) rec., 2 ob., 2 bn., str. & b.c. 16 Flavio, Re de'Langobardi S, A (Emilia/ Teodata) S, M, A, T, B (Vitige* [A]/ Guido20/ Flavio6// Ugone / Lotario [T]) rec., trv., 2 ob., bn., str. & b.c. 17 Giulio Cesare in Egitto S, A (Cleopatra/ Cornelia) S, M, 2A, 2B (Sesto* [T]/ G.Cesare20/ Nireno9 [-], Tolomeo6// Achilla [A], Curio [-]) 4 hrn., (trp., 1725), 2 rec., trv., 2 ob., 2 bn., solo vl., harp, vdg., thb., str. & b.c. 18 Tamerlano 2S (Asteria, Irene) M, A, T, B (Andronico20/ Tamerlano17// Bajazet/ Leone) (2 crnt.), 2 rec., 2 trv., 2 ob., bn., str. & b.c. 19 Rodelina, Regina de'Langobardi S, A (Rodelinda/ Eduige) M, A, T, B (Bertarido20/ Unulfo17// Grimoaldo/ Garibaldo) 2 hrn., 2 rec., trv., 2 ob., bn., str. & b.c. 20 Scipione (Publio Cornelio Scipione) 2S (Armira [A], Berenice) S, A, T, B (Lucejo20/ Scipione4 [T]// C. Lelio [A]/ Ernando) 2 hrn., (2 rec.), 2 trv., 2 ob., bn., str. & b.c. 21 Alessandro 2S (Rossane, Lisaura) M, 2A, T, B (Alessandro20/ Cleone* [-], Tassile4// Leonato [-]/ Clito) choir à 4; 2 trp., 2 hrn., 2 rec., 2 ob., bn., str. & b.c. 22 Admeto, Re di Tessaglia 2S (Alceste, Antigona) M, 2A, 3B (Admeto20/ Orindo*, Trasimede4// Ercole, Meraspe, voce: La Statua) 2 hrn., trv., 2 ob., bn., str. & b.c. 23 Riccardo Primo, Re d'Inghilterra 2S (Costanza, Pulcheria) M, A, 2B (Riccardo Primo20/ Oronte4// Berardo, Isacio) 3 trp. timp., 2 hrn., fl. picc., rec., B-trv., (2 chlx.), 2 ob., bn., str. & b.c. 24 Siroe, Re di Persia 2S (Emira, Laodice) M, A, 2B (Siroe20/ Medarse4// Arasse, Cosroe) 2 ob., str. & b.c. 25 Tolomeo, Re d'Egitto 2S (Elisa, Seleuce) M, A, B (Tolomeo20/ Alessandro4// Araspe) 2 hrn., 2 rec., trv., 2 ob., bn., str. & b.c. 26 Lotario S, A (Adelaide/ Matilde) M, A, T, B (Lotario7/ Idelberto*// Berengario/ Clodomiro) trp., 2 hrn., 2 ob., 2 bn., str. & b.c. 27 Partenope S, A (Partenope/ Rosmira) M, A, T, B (Arsace7/ Arminio* // Emilio/ Ormonte [A]) trp., 2 hrn., 2 trv., 2 ob., bn., thb., str. & b.c. 28 Poro, Re dell'Indie S, A (Cleofide/ Erissena) M, A, T, B (Poro20/ Gandarte*// Alessandro il Grande/ Timagene) trp., 2 hrn., 2 rec., trv., 2 ob., bn., solo vl., str. & b.c. 29 Ezio S, A (Fulvia/ Onoria) M, A, T, B (Ezio20/ Valentiniano III.*//Massimo/ Varo) trp., 2 hrn., 2 rec., 2 trv., 2 ob., 2 bn., str. & b.c. 30 Sosarme, Re di Media S, A (Elmira/ Erenice) M, 2A, T, B (Sosarme20/ Argone11 , Melo*// Haliate / Altomaro) 2 trp., 2 hrn., 2 ob., bn., thb., vl. soo, str. & b.c. 31 Orlando S, M (Angelica/ Dorinda) M, A, B (Medoro*/ Orlando20// Zoroastro) 2 hrn., 2 rec., 2 ob., bn., 2 vlt. mar., str. & b.c. 32 Arianna in Creta S, A (Arianna/ Carilda) S, 2M, 2B (Alceste19/ Tauride*, Teseo12// Minos, Il Sonno) 2 hrn., trv., 2 ob., bn., str. & b.c. 33 Ariodante 2 S (Dalinda [orig. A], Ginevra) M, A, 2T, B (Ariodante12/ Polinesso*//Lurcanio, Odoardo/ Il Re di Scozia) choir à 4; 2 trp., 2 hrn., 2 rec., 2 trv., 2 ob., bn., solo vl., str. & b.c. 34 Alcina S, A (Alcina, Morgana [A]/ Bradamante) t, M, T, B (Oberto#/ Ruggiero12 // Oronte/ Melisso) choir à 5; 2 hrn., fl. picc, 2 rec. 2 ob., bn., solo vl., solo vc., str. & b.c. 35 Atalanta S, A (Atalanta/ Irene) S, T, 2B (Meleagro15// Arminta/ Mercurio, Nircandro) choir à 4; 3 trp., timp., 2 hrn., 2 ob., str. & b.c. 36 Arminio S, A (Tusnelda; Ramise) S, M, A, T, B (Sigismondo15/ Arminio3/ Tullio* [orig. B]// Varo/ Segeste) choir à 4; 2 hrn., 2 rec., 2 ob., str. & b.c. 37 Giustino t, S, A (La Fortuna#/ Arianna/ Leocasta) S, M, A, T, 2B (Anastasio15/ Giust.3/ Amancio* // Vitaliano/ Polidarte, Voce di dentro) choir à 4; 2 trp., 2 hrn., 2 rec., B-rec., ob. solo, 2 ob. bn., str. & b.c. 38 Berenice, Regina d'Egitto S, A (Berenice/ Selene) S, M, A, T, B (Alessandro15/ Demetrio3/ Arsace*// Fabio/ Aristoboldo) choir à 4; 2 ob., str. & b.c. 39 Faramondo S, M (Clotilde/ Rosimonda) t, 2S, A, 2B (Childerico#/ Adolfo*, Faramondo10/ Gernando*// Gustavo, Teobaldo) choir à 4; 2 hrn, trv., 2 ob., str. & b.c. 40 Serse 2S, A (Atalanta, Romilda/ Amastre) S, M, 2B (Serse10/ Arsamene*// Ariodate [orig. S], Elviro[orig. A]) choir à 4; trp., 2 hrn., 2 rec., 2 ob., str. & b.c. 41 Imeneo 2S (Clomiri, Rosmene) M, 2B (Tirinto2// Argenio, Imeneo [T]) choir à 4; 2 ob., str. & b.c. 42 Deidamia 2S (Deidamia, Nerea) 2S, 2B (Achille*, Ulisse2// Fenice, Lycomede) choir à 4; 2 trp., timp., 2 hrn.., 2 ob., bn. (, lute), str. & b.c. General remarks: * For the high male rôles the numbers refer to the castrato who sang the part at the first performance (*: female singer, #: boy soprano (treble) William Savage): 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 Albertini, Giuliano Andreoni, Giovanni Battista Annibali, Domenico Baldi, Antonio Benedetti (Benedetto Baldassari) Berenstadt,Gaetano Bernacchi, Antonio Maria Berselli, Matteo Bigonzi, -?- Caffarelli (Gaetano Majorano) Campioli (Antonio Gualandi) Carestini, Giovanni Cassari, Giuseppe Frilli, Stefano Gizziello (Gioacchino Conti) Nicolini (Nicolo Grimaldi) Pacini, Andrea Perini, Giuseppe Scalzi, Carlo Senesino (Francesco Bernardi) Valentini (Valentino Urbani) Valeriano(Valeriano Pellegrini) 6 41, 42 36, 37, 38 20 - 25 12a 15, 16, 17 26, 27 12b, 13, 14 17 39, 40 30 8b, 8c, 32, 33, 34 7a 5 35, 36, 37, 38 7a, 11 18, 19 5 32 7b, 12b, 13 - 25, 28 - 31 7a, 8a, 9, 10 6, 8a, 9, 10 Senesino Handel often alternated between singers of both genders, depending on availability. Changes of the range at later performances are indicated in brackets ([-]: rôle cut). In some cases the range changed already before the first performance. Here, the range in the score is indicated by "orig.". * In most cases the choir may be sung by the soloists. * Silent rôles are not contained in the list. * Instruments in brackets were used in some performances only and may be omitted. * abbrevations: thb.: theorbo (bass lute), hpcd.: harpsichord, vdg.: viola da gamba (viol) Comments about some instruments (in brackets: act, scene): * flauto piccolo and flageolett: sopranino recorders (they differ in the number of holes) o Rinaldo (I, 6): "Augeletti chi cantate" (Almirena) o Alcina (III, 11): Tamburino * cornetto: o Tamerlano (II, 6): "Parche mi nasca in seno" (Irene), Handel wrote an alternative version of this aria for traverse flutes * traversa bassa: perhaps not a bass instrument, the name merely indicates that the instrument transposes downwards o Riccardo I. (III, 2): "Morte vieni" (Costanza) * chalumeau: precursor of the clarinet o Riccardo I. (III, 2): "Quando non vedo" (Pulcheria), this aria is the alternative version for "Quell'innocente" (with 2 oboes) * violetta marina: probably a viola d'amore with 7+14 strings o Orlando (III, 8): "Gia l'ebro mio ciglio" (Orlando) * basso de' flauti: a bass recorder o Giustino (I, 4): "Pùo ben nascer" (Giustino) The operas and their scoring (with str. & b.c.) in alphabetical order: Opera HWV soli and choir brass woodw. solo str. other instr. approx. duration S/M/A/T/B ch. tr./hr. rc./tr./ob./bn. vl./va./vc. Admeto 22 2/1/2/-/3 - -/2 -/1/2/1 -/-/- - 210' Agrippina 6 3/-3/-/3 - 2*/- 2/-/2/- -/-/- - 180' Alcina 34 3/1/1/1/1 5 -/2 2/-/2/1 1/-/1 fl.picc 180' Alessandro 21 2/1/2/1/1 4 2/2 2/-/2/1 -/-/- - 180' Almira 1 3/-/-/3/2 4 3*/- 2/-/2/1 1/1/1 - 170' Amadigi 11 3/1/1/-/- 4 1/- 2/1/2/1 -/-/- - 160' Arianna 32 2/2/1/-/2 - -/2 -/1/2/1 -/-/ - 150' Ariodante 33 2/1/1/2/1 4 2/2 2/2/2/1 -/-/- - 200' Arminio 36 2/1/2/1/1 4 -/2 2/-/2/- -/-/- - 140' Atalanta 35 2/-/1/1/2 4 3*/2 -/-/2/- -/-/- - 140' Berenice 38 2/1/2/1/1 4 -/- -/-/2/- -/-/- - 140' Daphne 4 music lost - Deidamia 42 4/-/-/-/2 4 2*/2 -/-/2/1 -/-/- (lute) 180' Ezio 29 1/1/2/1/1 - 1/2 2/2/2/2 -/-/- - 130' Faramondo 39 4/1/1/-/2 4 -/2 -/1/2- -/-/- - 180' Flavio 16 2/1/2/1/1 - -/- 1/1/2/1 -/-/- - 160' Floridante 14 2/1/1/-/2 - 2/2 2/-/2/2 -/-/- - 165' Florindo 3 music lost - G.Cesare 17 2/1/3/-/2 - (1)/4 2/1/2/2 1/-/- harp, thb., vdg. 220' Giustuno 37 3/1/2/1/2 4 2/2 2+B/-/3/1 -/-/- - 180' Imeneo 41 2/1-/-/2 4 -/- -/-/2/- -/-/- - 120' Lotario 26 1/1/2/1/1 - 1/2 -/-/2/2 -/-/- - 170' Muzio 13 4/1/1/-/1 - 2/2 -/(1)/2/1 -/-/- - 90/200' Nero 2 music lost - Orlando 31 1/2/1/-/1 - -/2 2/-/2/1 -/-/- 2 vlt. mar. 160' Ottone 15 2/1/2/-/1 - -/- 1/-/2/2 -/-/- - 190' Partenope 27 1/1/2/1/1 - 1/2 -/2/2/1 -/-/- thb. 190' Pastor fido 8a 3/-/2/-/1 4 -/- -/2/2/1 -/-/- - 120' 8b 1/-/1/-/- 4 -/2 -/2/2/1 -/-/- - 40' 8c 2/-/2/1/1 4 -/2 -/2/2/1 -/-/- - 150' Poro 28 1/1/2/1/1 - 1/2 2/1/2/1 1/-/ - 190' Radamisto 12a 4/-/1/1/1 - 2/2 -1/2/2 1/-/1 - 140' 12b 4/1/-/-/2 - 2/2 -/1/2/1 -/-/- - 170' Riccardo I. 23 2/1/1/-/2 - 3*/2 1/B/2/1 -/-/- fl.picc., (2 chlx.) 180' Rinaldo 7a 6/1/2/1/1 - 4*/- 2/-/2/1 1/-/- hpcd., flag. 180' 7b 5/2/1/1/2 - 1/2 2/-/2/1 1/-/- fl.picc. 200' Rodelinda 19 1/1/2/1/1 - -/2 2/1/2/1 -/-/- - 170' Rodrigo 5 4/-/1/1/- - -/- 2/-/2/1 -/-/- - 180' Scipione 20 3/-/1/1/1 - -/2 (2)/2/2/1 1/-/- - 150' Serse 40 3/1/1/-/2 4 1/2 2/-/2/- -/-/- - 170' Silla 10 4/2/-/-2 - 1/- 2/-/2/1 -/-/- - 90' Siroe 24 2/1/1/-/2 - -/- -/-/2/- -/-/- - 160' Sosarme 30 1/1/3/1/1 - 2/2 -/-/2/1 1/-/- thb. 160' Tamerlano 18 2/1/1/1/1 - -/- 2/2/2/1 -/-/- (2 crnt.) 210' Teseo 9 5/-/2/-/1 4 2/- 2/2/2/2 -/-/- - 155' Tolomeo 25 2/1/1/-/1 - -/2 2/1/2/1 -/-/- - 150' Please send comments, suggestions, additions to Andreas Kopp ([email protected]) Last modified: July 17, 1998 # to the male soprano page # to the famous castrato arias page # to the opera part of Brad Leissa's Handel page