Oy, your retelling of the Live "Flying Dutchman" experience at the Met (and thereabouts) was... vivid. Ouch. You have the talent of a storyteller! Other than that "picture of mind", I was thrilled by your mention of, basically, my 10 beloved pieces of Classical music! Shove them in the collective face of anyone postulating how Classical be "boring", or "overwrought", or too long, etc. These are exciting as only life in its many facets can be - primarily the joyful ones, but also the dramatic moments in there... Man, the time I first heard "Der Freischütz" overture - at about the age of 12, I knew nothing about the story, or the music at hand to that matter - but I was consumed by it momentarily. I was only asking myself why they would not repeat that haunting, haunting part (to, it turns out, the witching scene in the Wolves' glen!) forever! That is tone painting of the highest filigree, and my lack of preconceptions made the effect even more powerful. Since that day, I was sold on the Romantic Classics - Mendelssohn, Berlioz, Liszt, those guys. :) AND then Rossini became the bridge to the Classical period Classical. :)) Not Mozart, who I the adolescent once considered childish (...), but this Italian master of accelerations and heavenly crescendos like no other! "La Italiana in Algeri" and "La Gazza Ladra" are my favorite overtures for that, building to big, booming, satisfying climaxes with enough repeats to have you going (very much in a "Pop" sense!) - "Yeah, I know that cool part is coming, like, right NOW!" But not that any Rossini overture is lacking in that respect. A short aside, I once had the opportunity to hear "Barber of Seville" overture in arrangement for accordion ensemble (!), which still sounded marvelous, awaking in me a new respect for the accordionists among us. The fact was they got all the soft parts and the tutti without missing a beat - probably easier said than done on a dozen+ accordions - AND the crescendos were just rousing! Finally, of the more modern overtures, who could have picked better than VW's "The Wasps" and Bernstein's "Candide"? Both are the same kind of wonder that just grab one from the first note, and you won't be able to dislike them if you were trying. Well experienced by yours truly, as I came to "Candide" thinking "oh, another musical, meh, let's see", and "The Wasps", or their composer, I did not know at all when first hearing it randomly, and then tried for some time (pre-RUclips) to discover who the piece was by! My life was unfulfilled until I found out. :) So yes, any beginners present - go for these beauties, and revel! If you had the patience to read this comment to its end, well... you won't need it for the music in question. It will speak to you
I love Rossini’s Overture to “Il Signor Bruschino” ( that’s the one where the string players tap their music stands with their bows), and also that old chestnut, “William Tell”.
@@valerietaylor9615 For quite some time, I was in the habit of tapping the "Swiss march" that ends "William Tell" overture with my fingers on the table while thinking... Maybe I should go back to it, ha! Thank you for the "honorary mentions", very worthy!
I am around your age but from Boston. Beginning in 1974, the July 4th Pops concert ended with the 1812 overture, with our local National Guard and a few artillery pieces and about six nearby churches clanging on cue at the end.Then fireworks. Fireworks is the ONLY thing fitting to follow the 1812 overture. I bought my one and only classical album while my teens, Eugene Ormandy and the Philadelphia Orchestra’s version, released in 1971. It does have the opening hymn (God preserve thy people), translated into English.
I'm so glad you did an extra list for "essential overtures for beginners" because beginners might not think of overtures at all and there is so much good music to be discovered simply by listening to overtures!
Great video, Dave. Enjoyed the story about The Flying Dutchman; I'm not surprised that the Met has an onsite hospital. I was there in 2019 for The Ring Cycle and noticed the number of people working their way to their seats in a wheelchair, a walker, or just very, very slowly. But what was even more ironic was that a month later, while visiting the Rock and Roll Hall of Fame in Cleveland, I saw the same scenes with all of us aging rockers. Maybe the Hall of Fame also needs an onsite hospital for people our age!
These beginner's lists are also useful for us experienced old-timers with indefensible gaps in our listening history. And though I know how you feel about "You failed to include X" I applaud you for naming the Magic Flute overture over Figaro. They're both equally great, but the Magic Flute doesn't get enough play time. Bernstein's Candide overture astonishes me every time I listen to it--it truly is as good as anything by Rossini, don't you think?
I only discovered the Candide Overture last year, and it blew me away. I had the "O Happy We" theme stuck on repeat in my head for a week or two. I think it has among the most "bang" for any such piece its size around---how could Bernstein do so much memorable dynamism in such a short playtime? I get more emotional sweep and enjoyment out of it than from some full symphonies.
@@tmorganriley I've listened to it a lot the past couple of years, and I always marvel at just how wonderful and exhilarating it is. Even played by The Melodica Men, on mouth organs, it's absolutely joyous.
What a great list; includes several of my favorite overtures by their respective composers. At the risk of being OT, may I recommend a fantastic performance: The Hebrides Overture coupled with the Scottish Symphony, with Bernstein. I *think* it was with Israel. Like we say in jazz, it was burnin'!
Because I love your channel and admire the way you contextualize the music, I will forgive you for the blasphemous comments about The Magic Flute, which is my FAVORITE opera. Seeing this performed in the Hungarian language in Budapest, as I did, was one of the highlights of my grand tour of European concert halls in 2019 before the World descended into medicalized chaos. As for the Coriolan, it was on the Chicago Symphony RCA Living Stereo album with Beethoven's 5th conducted by Fritz Reiner, a recording that will live in my memory as one of the first to kindle my passion for the classics. And as I grew up watching all of those cartoons and the Lone Ranger, I'm sure that also has something to do with my affinity for this music.
I’m inclined to agree with David about the plot of “The Magic Flute”, which I find both silly and misogynistic (of course, the music is sublime; how could it not be, it’s by Mozart.) My favorite of his operas in German is “Abduction From the Seraglio”, which has feminist overtones ( and the pseudo-Turkish music is extremely charming and atmospheric.)
P. S.: The only detail lacking this time was to advise those who might be newcomers to the channel: if you like this example by the chosen composer - explore the rest of his overtures! Their characteristic style reflects beautifully in any of these works, and there are so many more hours of enjoyment prepared for you!
Speaking of the Tchaikovsky's 1812 Overture, i was surprise, unless i'm wrong, not to see any "best 1812 version" video from Dave. I would love to see one, and i'm not going to say more because i want to comment on it with my own experience and of course MY BEST version. My life will not be complete before getting that video. Thanks in advance.
Superb list for beginners. I am referring your channel and particularly these types of videos to my friends who are new to classical music (or as it is known as western classical music in India). This is not a "you forgot to include" comment but my non-essential addition to your splendid list would be Richard Heuberger's sparkling overture to Der Opernball.
Great list to which I'd add nothing. I was listening to the Hebrides for the umpteenth time a couple of weeks ago and there's a detail in the reprise that I'd never caught before the blew me away. In the score it's two bars for flute (5-6 after letter F in the score). Just two bars of staccato 8th notes D and C# that appear nowhere else, only there. A tiny, tiny detail only a genius would have thought of that adds subtly to the effect of the piece. For that matter, the salt spray chromatic 16ths for two flutes at letter F itself seem to anticipate Debussy and La Mer. Somebody once said the difference between the Barber Overture and Elisabetta is the latter has trombones and the Barber doesn't. I've also suggested opera companies have casino franchises in the lobby but who listens. Las Vegas could have the greatest opera company in the world.
Good evening Dave, here I am again. Congratulations for choosing "Der Freischütz", one can feel how you admire this overture. As I said on my comment about operas for beginners, the Freischütz is often a subject in our advanced German schools and just for beginners it is a good example as many motifs are appearing in the overture which students can more easily identify. This overture is frequently played at concerts. Mind that there is also a modern film version. From the content it's highly topical, everyone who has failed (Max) should be given a second chance. Thanks for choosing The Barber of Seville, it's amazing and...at least, surprise, you've chosen The flying Dutchman. Why not come to visit Dresden where Wagner and Weber were directors of the Opera. Though Weber had only one son who survived the family still exists. There's still Weber's study which you could see and the last time I was in Dresden I put some flowers on Weber's grave (Katholischer Friedhof Dresden). A woman that passed me said: "Yo've come because of Weber, it's strange, most people come because of Casanova." - wish you all the best, I wonder how many CD's you have. What was the first one you have bought?
I'm always amazed whenever I hear Freischuetz at how much of it anticipates Wagner. Beethoven was reportedly astonished by it and loved it. Like a glimpse into the future of music. Almost my favorite bit is in the final scene, that low flute melody that accompanies the hermit "doch sonata stets rein" an ingenious transformation of the harsh banishment theme earlier.
@@bbailey7818 Good morning B Bailey, I'm amazed, you are someone with real emotional feelings. It's a miracle to contact someone who feels the same. The Hermit sings: "Er, Herr, der schwer gesündigt hat..." and then this flute picks up a short but impressive tune which goes beneath my skin. Sometimes it is peculiar with operas because It has taken a considerably long time for me until I've realized this great motif. Thank you so much, your expertise opinion makes me optimistic for the rest of the day.
Dave, that anecdote was hilarious. Woody Allen could make a comedy about it (one of the good ones), of course including that sentence about invading Poland when you listen to Wagner.
I’ve been listening to Wagner since I was fifteen, and I’ve never had the least desire to invade Poland. The trouble with being a Germanophile and Wagnerite, is that everybody assumes that you do want to invade Poland (as if that poor country hasn’t been invaded enough.)😊
As a collector I never deliberately went hunting for overtures themselves; as so many are used as bonus pairings for larger works on albums, you end up encountering them anyway.
Except, if you turn your attention squarely on the overtures by a selected composer, you might get to know a handful more by them that you normally don't hear. And some of them will be equally great, inspired, uplifting as the famous ones - if not greater. Who would know about "the other" v. Weber's overtures beside the "Big 3", or "the other 20 or so" by Rossini, if it were not for those completist-fan recordings? (And yes, conductors who choose to program the barely known pieces I consider real fans, kudos to them all!)
1812 got me into classical music when I was 12, and I am even a bit older than Dave, so thats over 50 years ago. You are supposed to grow out of it. And tchaikovsky. Not me, I'm still 12 inside. 1812 is full of genius. Study it. Wrote alongside serenade for strings, it shares some ideas with that masterpiece, only noisier.
I prefer Tchaicovsky’s “Marche Slave” to the 1812 Overture. For some reason, the critics seem to bash “Marche Slave” even more than “1812”, though I consider it to be a much better piece. Incidentally, “Marche Slave” is one of the pieces that got me interested in Classical music when I was about twelve. It was on an LP as a filler piece with Tchaicovsky’s Fifth Symphony, with Sir John Barbirolli conducting the Philharmonia Orchestra.
Do you agree with me that too many performances of the Coriolan overture are far too slow? I wonder why this should be so. It's marked "allegro con brio." Too many performances sound more like "allegro senza brio."
I think you've got your facts a bit mixed up. When you said that Mozart wrote the overture to "La clemenza di Tito", K. 621 fifteen minutes before the premiere, my Mozart enthusiasm kicked in. It was actually Don Giovanni, for which Mozart frantically scribbled it down before the premiere. He just used the orchestral accompaniment from the finale "Don Giovanni, a cenar teco m'invitasti", in which the ghost of a murder victim drags Don Giovanni down to the fiery pits of Hell...lovely.
@@DavesClassicalGuide Fair enough 🤣. By the way, I absolutely love your channel and I suggest you do the top 20 Mozart pieces for beginners. Your content is amazing, and you're one of the few great classical music channels on RUclips. Thank you!
“Don Giovanni” is my favorite Mozart overture. And I’d read that story about Mozart frantically scribbling it down at the last minute, only I couldn’t remember which opera was in question. So, thanks for reminding me.
I love “Tannhaeuser” the best of Wagner’s early works. And the overture is one of my all-time favorites. That “Pilgrim’s Chorus” theme gets me every time.
Yeah, Inki And The Minah Bird. Considered racist by today's standards because African native Inki gets the crap beat out of him. Guess the Minah Bird reminded most of them of the police who beat the crap out of them. It's a cartoon, GIVE US A BREAK !!!
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David, your Flying Dutchman story is amazing! Humorous too; in retrospect anyway.
Oy, your retelling of the Live "Flying Dutchman" experience at the Met (and thereabouts) was... vivid. Ouch. You have the talent of a storyteller!
Other than that "picture of mind", I was thrilled by your mention of, basically, my 10 beloved pieces of Classical music! Shove them in the collective face of anyone postulating how Classical be "boring", or "overwrought", or too long, etc. These are exciting as only life in its many facets can be - primarily the joyful ones, but also the dramatic moments in there... Man, the time I first heard "Der Freischütz" overture - at about the age of 12, I knew nothing about the story, or the music at hand to that matter - but I was consumed by it momentarily. I was only asking myself why they would not repeat that haunting, haunting part (to, it turns out, the witching scene in the Wolves' glen!) forever! That is tone painting of the highest filigree, and my lack of preconceptions made the effect even more powerful. Since that day, I was sold on the Romantic Classics - Mendelssohn, Berlioz, Liszt, those guys. :)
AND then Rossini became the bridge to the Classical period Classical. :)) Not Mozart, who I the adolescent once considered childish (...), but this Italian master of accelerations and heavenly crescendos like no other! "La Italiana in Algeri" and "La Gazza Ladra" are my favorite overtures for that, building to big, booming, satisfying climaxes with enough repeats to have you going (very much in a "Pop" sense!) - "Yeah, I know that cool part is coming, like, right NOW!" But not that any Rossini overture is lacking in that respect. A short aside, I once had the opportunity to hear "Barber of Seville" overture in arrangement for accordion ensemble (!), which still sounded marvelous, awaking in me a new respect for the accordionists among us. The fact was they got all the soft parts and the tutti without missing a beat - probably easier said than done on a dozen+ accordions - AND the crescendos were just rousing!
Finally, of the more modern overtures, who could have picked better than VW's "The Wasps" and Bernstein's "Candide"? Both are the same kind of wonder that just grab one from the first note, and you won't be able to dislike them if you were trying. Well experienced by yours truly, as I came to "Candide" thinking "oh, another musical, meh, let's see", and "The Wasps", or their composer, I did not know at all when first hearing it randomly, and then tried for some time (pre-RUclips) to discover who the piece was by! My life was unfulfilled until I found out. :)
So yes, any beginners present - go for these beauties, and revel! If you had the patience to read this comment to its end, well... you won't need it for the music in question. It will speak to you
I love Rossini’s Overture to “Il Signor Bruschino” ( that’s the one where the string players tap their music stands with their bows), and also that old chestnut, “William Tell”.
@@valerietaylor9615 For quite some time, I was in the habit of tapping the "Swiss march" that ends "William Tell" overture with my fingers on the table while thinking... Maybe I should go back to it, ha! Thank you for the "honorary mentions", very worthy!
Thank you so much from a Beginner, that learns so much through this channel. thank you!
You're very welcome!
All the overtures that were used in the old serials…a great introduction to classical music!
I am around your age but from Boston. Beginning in 1974, the July 4th Pops concert ended with the 1812 overture, with our local National Guard and a few artillery pieces and about six nearby churches clanging on cue at the end.Then fireworks. Fireworks is the ONLY thing fitting to follow the 1812 overture.
I bought my one and only classical album while my teens, Eugene Ormandy and the Philadelphia Orchestra’s version, released in 1971. It does have the opening hymn (God preserve thy people), translated into English.
I'm so glad you did an extra list for "essential overtures for beginners" because beginners might not think of overtures at all and there is so much good music to be discovered simply by listening to overtures!
Great video, Dave.
Enjoyed the story about The Flying Dutchman; I'm not surprised that the Met has an onsite hospital. I was there in 2019 for The Ring Cycle and noticed the number of people working their way to their seats in a wheelchair, a walker, or just very, very slowly.
But what was even more ironic was that a month later, while visiting the Rock and Roll Hall of Fame in Cleveland, I saw the same scenes with all of us aging rockers. Maybe the Hall of Fame also needs an onsite hospital for people our age!
1812, Mehta with LA!! No stops whatsoever, and the canon is perfect
These beginner's lists are also useful for us experienced old-timers with indefensible gaps in our listening history. And though I know how you feel about "You failed to include X" I applaud you for naming the Magic Flute overture over Figaro. They're both equally great, but the Magic Flute doesn't get enough play time. Bernstein's Candide overture astonishes me every time I listen to it--it truly is as good as anything by Rossini, don't you think?
I only discovered the Candide Overture last year, and it blew me away. I had the "O Happy We" theme stuck on repeat in my head for a week or two. I think it has among the most "bang" for any such piece its size around---how could Bernstein do so much memorable dynamism in such a short playtime? I get more emotional sweep and enjoyment out of it than from some full symphonies.
@@tmorganriley I've listened to it a lot the past couple of years, and I always marvel at just how wonderful and exhilarating it is. Even played by The Melodica Men, on mouth organs, it's absolutely joyous.
It is a fun, rollicking piece.
Your Flying Dutchman story was hilarious! Made me laugh and I don’t laugh that easily. Very funny!
Hi Dave, seeing that you mentioned RVW's The Wasps I immediately thought of Malcolm Arnold's Grand Grand Overture - the one that never seems to end!
Really great choice of overtures for beginners or old timers like myself. Love them all.
That Flying Dutchman story was such a great monologue Dave, I don't know how you do it! You should launch a new section, called The Tales of Hurwitz'!
What a great list; includes several of my favorite overtures by their respective composers. At the risk of being OT, may I recommend a fantastic performance: The Hebrides Overture coupled with the Scottish Symphony, with Bernstein. I *think* it was with Israel. Like we say in jazz, it was burnin'!
Because I love your channel and admire the way you contextualize the music, I will forgive you for the blasphemous comments about The Magic Flute, which is my FAVORITE opera. Seeing this performed in the Hungarian language in Budapest, as I did, was one of the highlights of my grand tour of European concert halls in 2019 before the World descended into medicalized chaos. As for the Coriolan, it was on the Chicago Symphony RCA Living Stereo album with Beethoven's 5th conducted by Fritz Reiner, a recording that will live in my memory as one of the first to kindle my passion for the classics. And as I grew up watching all of those cartoons and the Lone Ranger, I'm sure that also has something to do with my affinity for this music.
I’m inclined to agree with David about the plot of “The Magic Flute”, which I find both silly and misogynistic (of course, the music is sublime; how could it not be, it’s by Mozart.) My favorite of his operas in German is “Abduction From the Seraglio”, which has feminist overtones ( and the pseudo-Turkish music is extremely charming and atmospheric.)
I see your next book.
A collection of your wonderful stories about your live musical experiences 😆
P. S.: The only detail lacking this time was to advise those who might be newcomers to the channel: if you like this example by the chosen composer - explore the rest of his overtures! Their characteristic style reflects beautifully in any of these works, and there are so many more hours of enjoyment prepared for you!
Speaking of the Tchaikovsky's 1812 Overture, i was surprise, unless i'm wrong, not to see any "best 1812 version" video from Dave. I would love to see one, and i'm not going to say more because i want to comment on it with my own experience and of course MY BEST version. My life will not be complete before getting that video. Thanks in advance.
And you are how old?
@@DavesClassicalGuide The truth i'm 59. But if i say 98, do i increase my chance to get that video ?
@@wanowan9700 Maybe!
and, i promise, to write a good comment on it, ill do my best.
@@DavesClassicalGuide I'll take it. Thank you Dave, you brought back classical music in my life, and just for that i owe you.
Superb list for beginners. I am referring your channel and particularly these types of videos to my friends who are new to classical music (or as it is known as western classical music in India). This is not a "you forgot to include" comment but my non-essential addition to your splendid list would be Richard Heuberger's sparkling overture to Der Opernball.
The overture to "Der Opernball" is amazing!. Another one that would definitely be on my list is the overture to J.Strauß II's "Die Fledermaus"
Great list to which I'd add nothing. I was listening to the Hebrides for the umpteenth time a couple of weeks ago and there's a detail in the reprise that I'd never caught before the blew me away. In the score it's two bars for flute (5-6 after letter F in the score). Just two bars of staccato 8th notes D and C# that appear nowhere else, only there. A tiny, tiny detail only a genius would have thought of that adds subtly to the effect of the piece. For that matter, the salt spray chromatic 16ths for two flutes at letter F itself seem to anticipate Debussy and La Mer.
Somebody once said the difference between the Barber Overture and Elisabetta is the latter has trombones and the Barber doesn't.
I've also suggested opera companies have casino franchises in the lobby but who listens. Las Vegas could have the greatest opera company in the world.
What a great idea!
Good evening Dave, here I am again. Congratulations for choosing "Der Freischütz", one can feel how you admire this overture. As I said on my comment about operas for beginners, the Freischütz is often a subject in our advanced German schools and just for beginners it is a good example as many motifs are appearing in the overture which students can more easily identify. This overture is frequently played at concerts.
Mind that there is also a modern film version. From the content it's highly topical, everyone who has failed (Max) should be given a second chance.
Thanks for choosing The Barber of Seville, it's amazing and...at least, surprise, you've chosen The flying Dutchman.
Why not come to visit Dresden where Wagner and Weber were directors of the Opera.
Though Weber had only one son who survived the family still exists. There's still Weber's study which you could see and the last time I was in Dresden I put some flowers on Weber's grave (Katholischer Friedhof Dresden). A woman that passed me said: "Yo've come because of Weber, it's strange, most people come because of Casanova." - wish you all the best, I wonder how many CD's you have. What was the first one you have bought?
I have no idea how many CDs I have. I don't remember the first one I bought.
I'm always amazed whenever I hear Freischuetz at how much of it anticipates Wagner. Beethoven was reportedly astonished by it and loved it. Like a glimpse into the future of music. Almost my favorite bit is in the final scene, that low flute melody that accompanies the hermit "doch sonata stets rein" an ingenious transformation of the harsh banishment theme earlier.
@@bbailey7818 Good morning B Bailey, I'm amazed, you are someone with real emotional feelings. It's a miracle to contact someone who feels the same.
The Hermit sings: "Er, Herr, der schwer gesündigt hat..." and then this flute picks up a short but impressive tune which goes beneath my skin.
Sometimes it is peculiar with operas because It has taken a considerably
long time for me until I've realized this great motif.
Thank you so much, your expertise opinion makes me optimistic for the rest of the day.
My favorite Weber overture is the one to “Euryanthe.” It sounds a lot like the Act III Prelude from Lohengrin ( or vice-versa.)
Dave, that anecdote was hilarious. Woody Allen could make a comedy about it (one of the good ones), of course including that sentence about invading Poland when you listen to Wagner.
I’ve been listening to Wagner since I was fifteen, and I’ve never had the least desire to invade Poland. The trouble with being a Germanophile and Wagnerite, is that everybody assumes that you do want to invade Poland (as if that poor country hasn’t been invaded enough.)😊
As a collector I never deliberately went hunting for overtures themselves; as so many are used as bonus pairings for larger works on albums, you end up encountering them anyway.
Except, if you turn your attention squarely on the overtures by a selected composer, you might get to know a handful more by them that you normally don't hear. And some of them will be equally great, inspired, uplifting as the famous ones - if not greater. Who would know about "the other" v. Weber's overtures beside the "Big 3", or "the other 20 or so" by Rossini, if it were not for those completist-fan recordings? (And yes, conductors who choose to program the barely known pieces I consider real fans, kudos to them all!)
1812 got me into classical music when I was 12, and I am even a bit older than Dave, so thats over 50 years ago. You are supposed to grow out of it. And tchaikovsky. Not me, I'm still 12 inside. 1812 is full of genius. Study it. Wrote alongside serenade for strings, it shares some ideas with that masterpiece, only noisier.
I prefer Tchaicovsky’s “Marche Slave” to the 1812 Overture. For some reason, the critics seem to bash “Marche Slave” even more than “1812”, though I consider it to be a much better piece. Incidentally, “Marche Slave” is one of the pieces that got me interested in Classical music when I was about twelve. It was on an LP as a filler piece with Tchaicovsky’s Fifth Symphony, with Sir John Barbirolli conducting the Philharmonia Orchestra.
Do you agree with me that too many performances of the Coriolan overture are far too slow? I wonder why this should be so. It's marked "allegro con brio." Too many performances sound more like "allegro senza brio."
I agree.
I think you've got your facts a bit mixed up. When you said that Mozart wrote the overture to "La clemenza di Tito", K. 621 fifteen minutes before the premiere, my Mozart enthusiasm kicked in. It was actually Don Giovanni, for which Mozart frantically scribbled it down before the premiere. He just used the orchestral accompaniment from the finale "Don Giovanni, a cenar teco m'invitasti", in which the ghost of a murder victim drags Don Giovanni down to the fiery pits of Hell...lovely.
No, I think I had it close enough as makes no difference.
@@DavesClassicalGuide Fair enough 🤣. By the way, I absolutely love your channel and I suggest you do the top 20 Mozart pieces for beginners. Your content is amazing, and you're one of the few great classical music channels on RUclips. Thank you!
Thank YOU.
“Don Giovanni” is my favorite Mozart overture. And I’d read that story about Mozart frantically scribbling it down at the last minute, only I couldn’t remember which opera was in question. So, thanks for reminding me.
You must love Bugs Bunny’s take on Tannhauser (What’s opera, Doc?), though I know you don’t particularly like the opera itself.
I love “Tannhaeuser” the best of Wagner’s early works. And the overture is one of my all-time favorites. That “Pilgrim’s Chorus” theme gets me every time.
The only Tchaikovsky piece to top the UK Classic fm annual Hall of Fame top 300. Not bad for a "piece of trash".
Hebrides…Inki in the Warner Bros cartoons, Don Winslow of the Navy,
Yeah, Inki And The Minah Bird. Considered racist by today's standards because African native Inki gets the crap beat out of him. Guess the Minah Bird reminded most of them of the police who beat the crap out of them. It's a cartoon, GIVE US A BREAK !!!
Oh I love Le corsaire, nothing sounds more like pirate music.
How about Herold's: Zampa Overture? From what I've read on album covers, Zampa was a pirate. Does this overture sound like a pirate?
I have a weakness for Berlioz’es “Les Francs Juges” Overture, even though he later rejected the rest of that opera. “Roman Carnival” is good, too.
12:43 Too bad that first audience didn’t shut up becuase the Barber of Seville premeire was so hectic.