Papageno and Pamina are characters in which opera?
"speaking. (Quintet: """") Papageno cannot resist answering the ladies, but Tamino remains aloof, angrily instructing Papageno not to listen to the ladies' threats and to keep quiet. Seeing that Tamino will not speak to them, the ladies withdraw in confusion. ""Scene 3: A garden"" Pamina is asleep. Monostatos approaches and gazes upon her with rapture. (Aria: """") He is about to kiss the sleeping Pamina, when the Queen of the Night appears. Monostatos hides. In response to the Queen's questioning, Pamina explains that he is joining Sarastro's brotherhood and she is thinking of accompanying him too. The Queen is not"
"him, then tells the sad, although misleading, tale of Pamina's abduction by Sarastro, and finally makes a stirring plea to Tamino to rescue her daughter. As the aria ends, the Queen and the Three Ladies leave the stage, leaving the astonished Tamino to ponder his task and gather his resolve. A performance takes about five minutes. The verse to which the aria was set was written by the opera's librettist Emanuel Schikaneder. Schikaneder was the impresario for whom the opera was written as well as the first performer of the role of Papageno. <poem lang=""de"" style=""float:left;""> O zittre nicht, mein"
"Rosetta Pampanini Rosetta Pampanini (2 September 1896 – 2 August 1973) was an Italian soprano, particularly associated with Puccini roles, especially Madama Butterfly. Pampanini was born in Milan. She began singing as a child, and later studied with Emma Malajoli. She made her stage debut in 1920, at the Teatro Nazionale in Rome, as Micaela, and in Turin in 1921, as Siebel. After further studies, she made her debut at the Teatro San Carlo in Naples, as Desdemona, in 1923, and sang the following year Elsa in Bergamo. Noticed by conductor Arturo Toscanini, she made her debut at the Teatro"
"of Chicago. Cabell's repertoire includes Pamina (""Die Zauberflöte""), Juliette (""Roméo et Juliette""), The Countess (""Le nozze di Figaro""), Adina (""L'elisir d'amore""), The Vixen (""The Cunning Little Vixen""), Musetta (""La bohème""), Lauretta and La Ciesca (""Gianni Schicchi""), Clara (""Porgy and Bess""), La Princesse in Ravel's ""L'enfant et les sortilèges"", La Femme in Poulenc's ""La voix humaine"", Miss Jessel in ""The Turn of the Screw"" and Arsamenes in ""Xerxes"". She has recently added the role of Ilia in Mozart's ""Idomeneo"" and will be performing the role of Micaëla in ""Carmen"" at the Chicago Lyric Opera in the 2010–2011 season. Her concert repertoire"
"The opera's orchestration calls for a lirone, and somewhat remarkably for the period the cast does not require a castrato. The piece is balanced towards higher voices, with six sopranos, two altos, seven tenors, and only one bass, as well as a trio of recorders. A compositional scheme is used within the work that associates flat keys with the feminine (the female protagonist Alcina and her attendants) and sharp keys with the masculine (the male protagonist Ruggiero and the other male roles). The sorceress Melissa, who also appears in male disguise, is presented in the key of C major. Alcina"
"Kirsten MacKinnon Kirsten MacKinnon is a Canadian operatic soprano. A winner of the Metropolitan Opera National Council Auditions in 2017, she has appeared internationally. She grew up in Vancouver, British Columbia, and studied voice at the Curtis Institute of Music in Philadelphia. At the Philadelphia Opera, she performed the roles of Micaëla in Bizet's ""Carmen"" and the Countess Madeleine in ""Capriccio"" by Richard Strauss. She was Pamina in Mozart's ""Die Zauberflöte)"" for the Toronto Opera, and the Countess in his ""Le nozze di Figaro"" with the Garsington Opera. Her roles have included Elektra in Mozart's ""Idomeneo"", the title role of"
"""Il piccolo Marat"" and ""Iris"", and Nedda in Leoncavallo's ""Pagliacci"". Though essentially a lyric soprano, she occasionally sang a few spinto Verdi roles such as Leonora and Aida, and also Giordano's Maddalena and Fedora. She retired from the stage in 1946, and turned to teaching. Among her pupils was British soprano Amy Shuard. Pampanini died in Rovigo, aged 76. Rosetta Pampanini Rosetta Pampanini (2 September 1896 – 2 August 1973) was an Italian soprano, particularly associated with Puccini roles, especially Madama Butterfly. Pampanini was born in Milan. She began singing as a child, and later studied with Emma Malajoli. She"
"she cannot back out. Saffo accepts her fate, bids farewell to everybody, and jumps. Climene faints. Faone has to be restrained from jumping, too. Apollo, still angry with her, allows Saffo to drown. Notes Sources Saffo (Pacini) Saffo is an opera in three acts by Giovanni Pacini set to a libretto by Salvadore Cammarano, which was based on a play by Franz Grillparzer, after the legend of the ancient Greek poet Sappho. The opera was first performed at the Teatro San Carlo in Naples on 29 November 1840, and was also given in Paris at the Théâtre-Italien on 15 March"
"They give Tamino a portrait of the Queen of the Night's daughter Pamina, with whom Tamino falls instantly in love (aria: ""Dies Bildnis ist bezaubernd schön"" / This image is enchantingly beautiful). The ladies return and tell Tamino that Pamina has been captured by Sarastro, whom they describe as a powerful, evil demon. Tamino vows to rescue Pamina. The Queen of the Night appears and promises Tamino that Pamina will be his if he rescues her from Sarastro (Recitative and aria: ""O zittre nicht, mein lieber Sohn"" / Oh, tremble not, my dear son!). The Queen leaves and the ladies"
"heard this, he called down into the orchestra, ""Hey, Mozart! That's no good, the music must express greater astonishment. They must both stare dumbly at each other, then Papageno must begin to stammer: 'Pa-papapa-pa-pa'; Papagena must repeat that until both of them finally get the whole name out. Mozart followed the advice, and in this form the duet always had to be repeated."" Castelli adds that the March of the Priests which opens the second act was also a suggestion of Schikaneder's, added to the opera at the last minute by Mozart. These stories are not accepted as necessarily true"
"at his mother's home in Oklahoma City, of complications from AIDS. Stephen Dickson Stephen Dickson (16 February 1951 – 18 October 1991) was an American baritone who had an active career in operas and concerts from 1972 through 1990. He was active with the United States's most important opera companies during the 1980s, sharing the stage with many notable singers like Luciano Pavarotti, Jessye Norman, and Renata Scotto. He was particularly admired for his portrayal of Papageno in ""The Magic Flute"", a role he sang throughout Europe and the United States. At the time of his premature death, Dickson had"
"Håkan Hagegård Nils Olov Håkan Hagegård (born 25 November 1945 in Karlstad, Sweden) is a Swedish operatic baritone. Hagegård studied at the Royal College of Music in Stockholm and has performed on stages around the world, including Carnegie Hall, the London Royal Opera House, La Scala, the Metropolitan Opera, the Sydney Opera House, the Deutsche Oper Berlin, the Vienna State Opera (""Così fan tutte"" conducted by Nikolaus Harnoncourt), and the Royal Swedish Opera in Stockholm. He played the role of Papageno in Ingmar Bergman's acclaimed film version of Mozart's ""Die Zauberflöte"" (""Trollflöjten"", 1975). He sang the baritone solos in choral"
"elements and traditional fairy-tale themes (see ""Libretto of The Magic Flute""). Schikaneder took the role of Papageno—a character reflecting the Hanswurst tradition, and thus suited to his skills—at the premiere. According to the dramatist Ignaz Franz Castelli, Schikaneder also may have given advice to Mozart concerning the musical setting of his libretto: The late bass singer Sebastian Mayer told me that Mozart had originally written the duet where Papageno and Papagena first see each other quite differently from the way in which we now hear it. Both originally cried out ""Papageno!"", ""Papagena!"" a few times in amazement. But when Schikaneder"
"in the libretto. The opening eight bars of orchestral introduction to the duet ""Pa pa pa"", at the moment when Papagena is revealed to Papageno as his future wife, includes the stage direction that Papageno and Papagena ""both engage during the ritornello in comic play."" The experiences and background of the composer, who liked to have considerable input into the libretto (see ""The Abduction from the Seraglio"" for testimony), are also relevant. Nedbal writes, ""Moral maxims appear frequently in eighteenth-century German drama and contemporary German theorists of theater often discuss them in their treatises. The main function of maxims is"
"Pimmalione Pimmalione (""Pygmalion"") is an opera in one act by Luigi Cherubini, first performed at the Théâtre des Tuileries, Paris on 30 November 1809. The libretto is an adaptation by Stefano Vestris of Antonio Simone Sografi's Italian translation of the text Jean-Jacques Rousseau wrote for his ""scène lyrique"" ""Pygmalion"" (1770). It is based on the Classical legend of the sculptor Pygmalion. ""Pimmalione"" was specially commissioned by the Emperor Napoleon Bonaparte to show off the talents of two of his favourite singers, the famous castrato Girolamo Crescentini and the contralto Giuseppina Grassini (who had been Napoleon's lover). It was first given"
"Stephen Dickson Stephen Dickson (16 February 1951 – 18 October 1991) was an American baritone who had an active career in operas and concerts from 1972 through 1990. He was active with the United States's most important opera companies during the 1980s, sharing the stage with many notable singers like Luciano Pavarotti, Jessye Norman, and Renata Scotto. He was particularly admired for his portrayal of Papageno in ""The Magic Flute"", a role he sang throughout Europe and the United States. At the time of his premature death, Dickson had just reached the pinnacle of his career, having only recently gained"
"grandiose. This rage aria is often referred to as the ""Queen of the Night's Aria"", although the Queen sings another distinguished aria earlier in the opera, """". The words were written by Emanuel Schikaneder, who also authored the rest of the ""Magic Flute"" libretto, headed the theater troupe that premiered the work, and created the role of Papageno. <poem lang=""de"" style=""float:left;"">Der Hölle Rache kocht in meinem Herzen, Tod und Verzweiflung flammet um mich her! Fühlt nicht durch dich Sarastro Todesschmerzen, so bist du meine Tochter nimmermehr. Verstoßen sei auf ewig, verlassen sei auf ewig, zertrümmert sei'n auf ewig alle Bande"
"in a private performance at the emperor's palace, Les Tuileries. Napoleon was delighted with the work and offered Cherubini a large reward and a commission for another piece. The sculptor Pygmalion falls in love with his own work, a statue of Galatea. He prays to the gods of love Venus and Cupid to release him from his passion. While he sleeps, Galatea's statue comes to life, dances and falls in love with Pygmalion. Pygmalion and Galatea celebrate their wedding in the palace of Venus. Notes Sources Pimmalione Pimmalione (""Pygmalion"") is an opera in one act by Luigi Cherubini, first performed"
"it was there that it was suggested to him by Jules Janin, the newly appointed director of the ""Théâtre-Italien"", that he might compose a new opera for that house. Janin prepared a formal proposal on 27 September, but while no specific subject nor title was mentioned, Janin suggested that it should be a new ""opera buffa"" tailored to the talents of some major singers including Giulia Grisi, Antonio Tamburini, and Luigi Lablache. In the tradition of opera buffa, the opera makes reference to the stock characters of the ""commedia dell'arte"". Pasquale is recognizable as the blustery Pantalone, Ernesto as the"
"composer conducted, there were 17 curtain calls, and Uppman was acclaimed as a new star. Uppman sang 395 performances in fourteen roles during a 24-year career with the Metropolitan Opera, most frequently in Mozart operas: 98 performances as Masetto in ""Don Giovanni"" and 60 performances as Papageno in ""The Magic Flute"". He also appeared as Guglielmo in 24 performances of ""Così fan tutte"". While with the Met he virtually owned the role of Paquillo in Offenbach’s ""La Périchole"", singing in every one of its 54 performances, from its Metropolitan premiere on 21 December 1956, through the performance in Detroit on"
"London, with a full three-year scholarship and in the Young Artist Programme at the Royal Opera House, Covent Garden, where she made her début as a flower maiden in ""Parsifal"". Winner of the Veronica Dunne International Singing Competition in Dublin in 2010, Pumeza later joined the Stuttgart Opera, where she has been part of the full-time ensemble since 2011, performing Pamina in ""Die Zauberflöte"", Susanna in ""Le nozze di Figaro"", Mimì in ""La bohème"", Micaëla in ""Carmen"". Signing with the London-based label Decca in 2013, she recorded her debut album, ""Pumeza - Voice of Hope"", at Abbey Road Studios. She"
"Bing, General Manager of the Metropolitan Opera, was highly impressed with Żylis-Gara's debut performance and offered her a long term contract with the company beginning in January 1970 with the role of Pamina in Mozart's ""The Magic Flute"". She remained on the Met roster for the next 14 seasons, portraying such roles as Countess Almaviva in Mozart's ""The Marriage of Figaro"", Amelia in Verdi's ""Un ballo in maschera"", Cio-Cio-San in ""Madama Butterfly"", Desdemona in Verdi's ""Otello"", Elisabeth in Wagner's ""Tannhäuser"", Elsa in his ""Lohengrin"", Fiordiligi in Mozart's ""Così fan tutte"", Leonora in Verdi's ""Il trovatore"", Liù in Puccini's ""Turandot"", Marguerite"
"Robert Carsen’s new production of Prokofiev’s ""The Love for Three Oranges"" (2012 and 2015), Roggiero in ""Tancredi"" (2012), and several Mozart heroines (Pamina (2008, 2009, 2010, 2011, 2012, 2016, 2017), Susanna (2009, 2012, 2014), Zerlina (2011), and Donna Elvira (2018)). In 2010 she made her debut at the San Francisco Opera (SFO) as Mozart's Susanna. She has since returned to the SFO numerous times for performances of Sophie in ""Werther"" (2010), Atalanta in ""Serse"" (2011), Pamina (2012), Nannetta (2013), Magnolia Hawks in ""Show Boat"" (2014), Oscar (2014), Johanna in """" (2015), Norina (2016), and Zdenka in ""Arabella"" (2018). She made"
"raises him up, kisses him on the cheek and embraces him, for both are shattered vessels that must be filled with the breath of love. Borromeo, much chastened, departs: Ighino embraces his father, and asks if he will now be happy. Silla has gone to Florence, but Ighino will remain: in joy the boy rushes out into the street. Palestrina looks at his wife's portrait, and with an expression of devotion to God sits at the organ and begins to play. Palestrina (opera) Palestrina is an opera by the German composer Hans Pfitzner, first performed in 1917. The composer referred"
"Lisa Otto Lisa Otto (14 November 1919 – 18 September 2013) was a German operatic soprano, particularly associated with soubrette and light coloratura roles. Born in Dresden, she studied there at the Musikhochschule with Susanne Steinmetz-Prée. She made her debut in Beuthen, as Sophie in ""Der Rosenkavalier"", in 1941, where she remained until 1944. She then sang in Nuremberg (1944–45), Dresden (1945–51), and joined the Berlin State Opera in 1951, where she was to remain until 1985. She is best known for soubrette roles such as Blondchen, Susanna, Zerlina, Despina, and Papagena in Mozart's operas. Other notables roles included the"
"Competition in the categories Soprano as well as interpretation of French Lieder. On the opera stage she appeared as ""Pamina"" in Mozart's ""The Magic Flute"", ""Clarijn"" in ""Der Spiegel von Venedig"" of Hendrik Andriessen, ""Ninfa"" in Monteverdi's ""L'Orfeo"", ""Belinda"" in Purcell's ""Dido and Aeneas"", ""Dorinda"" in Handel's ""Orlando"" and ""Hélène"" in Chabrier's ""Une éducation manquée"". She performs baroque oratorio and passion-music often, for instance (2009) Bach's ""Christmas Oratorio"", ""St Matthew Passion"" and ""St John Passion"", Handel's ""Messiah"", ""Israel in Egypt"" and ""Jephtha"", and Classical works including Haydn's ""The Creation"" and ""Theresienmesse"" but also Romantic repertoire such as Brahms's ""Ein Deutsches"
"his pleasures. Astonishingly, Berry never appeared in London in the role with which he perhaps became most closely linked, Papageno, despite an operatic career that spanned more than 40 years. Berry lent his talents to many highly regarded recordings, including the classic Otto Klemperer recordings of ""The Magic Flute"" (as Papageno) and ""Fidelio"" (as Don Pizarro), both for EMI. He married the leading mezzo-soprano Christa Ludwig in 1957; they divorced in 1970. He died in 2000, aged 71, in Vienna. He can be seen on DVD as Don Pizarro, opposite Ludwig, James King, and Josef Greindl; also as Leporello opposite"
"Studio and joined the theater of St. Gallen where she sang her first Papagena in Mozart's Die Zauberflöte. As a member of the Vienna State Opera Studio in 1990-1991 season, she appeared in many roles including, Celia in Mozart’s Lucio Silla and Papagena. During that season, she made her debut at the Zürich Opera again with Papagena followed by, Arsena in ""The Gypsy Baron"". In the 1991-1992 season, she became a member of the Zürich Opera and appeared as Pamina in Die Zauberflöte, Adele in Die Fledermaus, Blondschen in Die Entführung aus dem Serail and Ännchen in Der Freischütz. After"
"was made up of men, including ""castrati"". The opera was written for four sopranos, one alto, and one tenor, who played the protagonist Antigono. The Macedonian King Antigono and his banished son Demetrio are both loved by the Egyptian princess Berenice. Antigono’s daughter, Ismene, loves Alessandro, who is the enemy of Macedonia. The opera portrays a violent struggle between Antigono and Alessandro. Typical for opera seria plots, identities and the emotional relations between the characters become confused. Everything is resolved through the forgiveness of King Antigono, and the opera seria ends happily. Antigono (King of Macedonia) – Tenor Berenice (Egyptian"
"He asks Antigone and Haemon to forgive his harshness. The opera ends with a marriage ceremony for the two rescued lovers. Antigona Antigona (""Antigone"") is an opera in three acts in Italian by the composer Tommaso Traetta. The libretto, by Marco Coltellini, is based on the tragedy ""Antigone"" by Sophocles. But there is also an opera ""Antigona"" by Josef Mysliveček. ""Antigona"" received its premiere at the Imperial Theatre, Saint Petersburg, Russia on 11 November 1772. The background to the opera is the myth of Oedipus. Oedipus has been expelled from Thebes, the city where he was king, after it was"
"Germany. There she sang Pamina in Mozart's ""Die Zauberflöte"", Ginevra in Handel’s ""Ariodante"", Janthe in Heinrich Marschner's ""Der Vampyr"", and the soprano solo in Bruno Maderna’s ""Hyperion"". During the season, she also made guest appearances in the role of Pamina for the Basel Opera. She continued her engagements in Freiburg for the 2002/2003 season with the role of Marzelline in Beethoven's ""Fidelio"", the title role in Benedetto Marcello’s ""Arianna"" and Micaëla in Bizet’s ""Carmen"". She also performed the soprano solos for Frank Martin’s ""Maria-Triptychon"" as well as for Karol Szymanowski's ""Stabat Mater"" with the Philharmonic Orchestra Freiburg. When Crane returned"
"Artur Ruciński Artur Ruciński (born 1976 in Warsaw) is a Polish baritone opera singer. Ruciński studied at the Warsaw Academy of Music and made his debut as Papageno in ""The Magic Flute"" with in 2001. In 2002 he made his debut at Warsaw's National Theatre, taking the title role in ""Eugene Onegin"". He went on to sing Onegin with the Berlin State Opera, and Enrico in ""Lucia di Lammermoor"" for Hamburg State Opera. Other roles have included Figaro in The Barber of Seville, Prince Yeletsky in ""The Queen of Spades"", Marcello in ""La bohème"", Riccardo in ""I puritani"" and Valentin"
"season ended, it had been sung to fifteen full houses"". For Rubini, ""it marked the defining performance for the tenor"", and the newspaper reviews which followed all agreed with the composer's own assessment. After its Milanese debut, the opera received very successful performances in Vienna in February 1828 and also in Naples three months later. Both productions starred Rubini, Tamburini, and—in the role of Imogene—Rubini's wife, Adelaide Comelli-Rubini, about whom Bellini had initial misgivings, although it appears that she acquitted herself very well. By this time, Bellini had begun to achieve international fame. After ""Il pirata"", Bellini remained in Milan"