User talk:Folantin
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Re:
A risentirci a presto!
Del resto, anch'io non ho lavorato molto su Wikipedia negli ultimi tempi, ma non per gli impegni della vita reale quanto per una certa tendenza alla pigrizia. Cheers.--Jeanambr (talk) 16:24, 12 March 2017 (UTC)
- Yeah, I find it hard to summon up the energy nowadays. My plan to polish all the Rameau articles to perfection now looks distinctly overambitious. I'll probably focus on the major ones which are really underdeveloped, e.g. Dardanus. I might have a look at the article on Sacchini's version again while I'm doing that. By the way, did you know there was a recent production of Sacchini's Chimène [1]? Cheers. --Folantin (talk) 16:01, 14 March 2017 (UTC)
- Grazie, non ne avevo proprio sentito parlare! Ciao.--Jeanambr (talk) 13:45, 16 March 2017 (UTC)
- Ho visto il tuo lavoro su Les surprises de l'Amour: mi sembra che vado tutto bene (come al solito!). Sto partendo per le vacanze e non avrò a disposizione un "laptop", quindi fino ad agosto non credo che potrò essere molto attivo su Wikipedia. Tanti saluti.--Jeanambr (talk) 13:51, 12 July 2017 (UTC)
- Thanks. I've just finished off some unfinished business and will probably have a bit of a rest from Wikipedia now too. Enjoy your holidays. --Folantin (talk) 14:34, 12 July 2017 (UTC)
- Ho visto il tuo lavoro su Les surprises de l'Amour: mi sembra che vado tutto bene (come al solito!). Sto partendo per le vacanze e non avrò a disposizione un "laptop", quindi fino ad agosto non credo che potrò essere molto attivo su Wikipedia. Tanti saluti.--Jeanambr (talk) 13:51, 12 July 2017 (UTC)
- Grazie, non ne avevo proprio sentito parlare! Ciao.--Jeanambr (talk) 13:45, 16 March 2017 (UTC)
Salve Folantin, ho visto nella tua sandbox Olimpiade-notes (che si trova sulla mia watchlist) che stai lavorando su Le jugement de Midas. Ho pensato di darti una mano e ho aggiunto, sulla stessa sandbox: una nuova tabella dei personaggi e interpreti, il link al libretto originale, il link ad una partitura manoscritta, e alcuni dati che stavi ancora cercando per la Performance history. Buon lavoro.--Jeanambr (talk) 20:07, 5 October 2017 (UTC)
- Thanks a lot. I'm slowly revising the existing Grétry articles (I need a break from the Baroque for a while) and will also create a few new ones, although it probably makes no sense to have a page on every single one as some of the scores and libretti have disappeared, particularly the later operas from the Revolutionary period. Charlton gives the number of performances but he rarely offers a sum total, instead listing them by decade, so if you have this information to hand it would be very useful. Any other help would be appreciated too. My revisions will appear in my various sandboxes (I suppose I should rename them to make life easier). Grazie. --Folantin (talk) 10:52, 6 October 2017 (UTC)
- NB: Charlton has a discussion of voice types in Grétry. He implies that the voice types he gives in the roles lists in his book need to be taken with a "pinch of salt". He writes, "...as we saw in Caillot's case, concepts of such types were rather different two centuries ago. G.'s full scores rarely used the alto clef, the one appropriate to the very high tenor (haute-contre); his use of tenor clef is usually consistent, but as some voices ranged widely, like Caillot's and Phillipe's, G. did sometimes notate a given role in both bass and tenor clefs within a single work. Such vocal types I have called baritone, but there is evidence that our concept of the baritone did not exist for the earlier Grétry [...] However, G. certainly differentiated between bass and tenor, as when he rewrote a basse-taille part (that of Narbonne, role of Robert [in Les méprises par ressemblance]) for taille." Folantin (talk) 13:56, 7 October 2017 (UTC)
- In effetti, mi ero accorto della preferenza di Grétry per la chiave di tenore ed ero a conoscenza del fatto che il baritono come registro autonomo, e più in generale tutte le tipologie vocali modernamente intese, sono emerse solo a partire dall'inizio dell'800. Quindi, in un certo senso, attribuire alle varie tipologie vocali le parti delle opere del 6-700 che erano scritte in funzione dei singoli cantanti, è un anacronismo, però molto consolidato. Di regola, si usa la corrispondenza delle chiavi, e quindi, nell'opera italiana, si ascrivono alla voce di soprano le parti scritte in chiave di soprano, al contralto quelle scritte in chiave di contralto (per quanto io ne so esiste anche una parte di un'opera di uno dei Melani scritta in chiave di mezzosoprano), al tenore e al basso quelle scritte rispettivamente in chiave di tenore o di basso, e infine al baritono le rare parti, soprattutto seicentesche, scritte in un F-clef placed on the third line. Nell'opera francese, si segue più o meno lo stesso procedimento, con queste avvertenze: la chiave di contralto fu sempre e soltanto utilizzata per la voce di haute-contre e quindi tutte le parti femminili dell'opera francese (anche quando sono collocate in comode tessiture da mezzosoprano moderno) vengono ascritte al registro di soprano; quando nella stessa opera coesistono parti in chiave di tenore e di contralto, io tendo a distinguere attribuendo le prime alla voce di taille (baritenor) e le seconde a quella di haute contre; le parte in chiave di basso (che ricomprendono, tipologicamente, basso e baritono moderni) le ascrivo alla voce di basse-taille, denominazione nella quale venivano raggruppate, almeno nell seconda metà del '700, tutte le voci maschili gravi.
- Per qualche grande cantante anfibio come il nostro amico Lays (tipologicamente molto simile a Caillot), abbiamo già utilizzato lo stesso espediente di Charlton classificandolo ante litteram come "baritono", almeno con riferimento alle parti scritte in chiave di basso. Fra l'altro, anche nel caso di Lays esiste il fenomeno rilevato da Charlton per Caillot, e cioè, oltre ad avere la maggior parte dei ruoli scritti in chiave di basso, ed alcuni in chiave di tenore, esistono anche casi (es. Égisthe nell'Électre di Lemoyne) di ruoli scritti in parte in chiave di tenore, in parte di basso.
- Per quanto riguarda in particolare Charlton, mi ha lasciato qualche dubbio il procedimento da lui usato per Le jugement de Midas. Qui, le parti di Apollon e di Marsias sono scritte in chiave di contralto e quella di Midas in chiave di tenore, e lui ha attribuito le prime due alla tipologia vocale del tenore e la terza al "tenore o baritono". A me è sembrato molto più lineare parlare nel primo caso di "haute-contre" e nel secondo di "taille (baritenor)". Scusa la mia consueta verbosità. Ciao.--Jeanambr (talk) 09:11, 9 October 2017 (UTC)
- Yeah, it's tricky and the only real solution is to offer explanations in footnotes as you have been doing. Thanks a lot for all your hard work. BTW Did you know Loewenberg's Annals of Opera is available online at the Internet Archive [2]? Useful for showing the international spread of Grétry's works. Unfortunately, it doesn't give sum totals of performances. Do you have the sum total for Silvain at the Opéra-Comique? If not, I can probably add Charlton's statistics together. Ciao. --Folantin (talk) 14:27, 9 October 2017 (UTC)
- Mi dispiace: al momento non posseggo ancora il libro di Charlton e non ho altre fonti sulla performance history di Silvain. Con molta simpatia.--Jeanambr (talk) 15:40, 9 October 2017 (UTC)
- Saluti!--Jeanambr (talk) 22:23, 28 November 2017 (UTC)
- Mi dispiace: al momento non posseggo ancora il libro di Charlton e non ho altre fonti sulla performance history di Silvain. Con molta simpatia.--Jeanambr (talk) 15:40, 9 October 2017 (UTC)
- Yeah, it's tricky and the only real solution is to offer explanations in footnotes as you have been doing. Thanks a lot for all your hard work. BTW Did you know Loewenberg's Annals of Opera is available online at the Internet Archive [2]? Useful for showing the international spread of Grétry's works. Unfortunately, it doesn't give sum totals of performances. Do you have the sum total for Silvain at the Opéra-Comique? If not, I can probably add Charlton's statistics together. Ciao. --Folantin (talk) 14:27, 9 October 2017 (UTC)
- NB: Charlton has a discussion of voice types in Grétry. He implies that the voice types he gives in the roles lists in his book need to be taken with a "pinch of salt". He writes, "...as we saw in Caillot's case, concepts of such types were rather different two centuries ago. G.'s full scores rarely used the alto clef, the one appropriate to the very high tenor (haute-contre); his use of tenor clef is usually consistent, but as some voices ranged widely, like Caillot's and Phillipe's, G. did sometimes notate a given role in both bass and tenor clefs within a single work. Such vocal types I have called baritone, but there is evidence that our concept of the baritone did not exist for the earlier Grétry [...] However, G. certainly differentiated between bass and tenor, as when he rewrote a basse-taille part (that of Narbonne, role of Robert [in Les méprises par ressemblance]) for taille." Folantin (talk) 13:56, 7 October 2017 (UTC)
Nomination for deletion of Template:Spontini operas
Template:Spontini operas has been nominated for deletion. You are invited to comment on the discussion at the template's entry on the Templates for discussion page. Frietjes (talk) 15:29, 30 October 2017 (UTC)
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Auguri!
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May you have very Happy Holidays, Folantin ...
and a New Year filled with peace, joy, and beautiful music!
Best wishes, Voceditenore (talk) 07:34, 22 December 2017 (UTC)
Grazie, and the same to you. Folantin (talk) 17:57, 23 December 2017 (UTC)
Aladdin and Javiero Fernandez
Hi - having a little bother with the above - I've been very patient (I think) but he's not letting up the tiniest bit. Thinking of your work on One Thousand and One Nights and Sinbad and so on and hoped you might like to butt in. No worries if you're not interested, of course. Best regards anyway --Soundofmusicals (talk) 21:52, 31 July 2018 (UTC)
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Hello, Folantin. Voting in the 2018 Arbitration Committee elections is now open until 23.59 on Sunday, 3 December. All users who registered an account before Sunday, 28 October 2018, made at least 150 mainspace edits before Thursday, 1 November 2018 and are not currently blocked are eligible to vote. Users with alternate accounts may only vote once.
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Happy Holidays
May you have very Happy Holidays, Folantin ...
and a New Year filled with peace, joy, and beautiful music.
Best wishes, Voceditenore (talk) 06:15, 22 December 2019 (UTC)
Happy Holidays, Folantin
May you have very Happy Holidays ...
and a safe New Year filled with peace, joy, and beautiful music.
Best wishes, Voceditenore (talk) 11:47, 23 December 2021 (UTC)