Skip to main content

The Most "Villainy" Operatic Villain Part 2

It's here! Part 2 of my absolutely useless list of operatic villains. Check out Part 1 by pressing the link and stay tuned for Part 3 which will be dedicated to Iago and the antagonists in The Tales of Hoffman. Thanks!


Diana Damrau as The Queen of the Night

The Queen of the Night from Wolfgang Amadeus Mozart's The Magic Flute
This one should be on the list of Worst Operatic Moms or something. She literally tries to sell her daughter for power, which as far as I'm concerned she already has a lot of. Right? She didn't exactly cut the mustard when she showed the portrait of Pamino to Tamino because his love for her is basically what saved Pamina from her messed up mom and the weirdo Monostatos. (In truth, Papageno actually physically rescued her and Tamino took all of the credit, leaving Papageno to seem as the oaf of the story. Not cool.)
Bryn Terfel as Scarpia

Vitellio Scarpia from Giocomo Puccini's Tosca
He's really evil, but his leitmotif is the best. I don't think I'm going to write anything else for Scarpia. We all know that he's kind of an a**hole (I'm being as censored as possible), but the music that Puccini loftily set him to is intriguing, especially when the opening chord progression of Tosca is essentially Scarpia's leitmotif, foreshadowing the tremendous impact he will have on the fates of Mario and Floria.

Wurm from Verdi's Luisa Miller
This guy caused a chain reaction of doom with his weird love intrigues. A lot of people do this, even in our time. I won't say that he is directly to blame for Rodolfo and Luisa's deaths, per se; but he is essentially the initial cause of most of their internal and external conflicts. Wurm is similar to Count di Luna in that all of his not noble deeds stemmed from his everlasting love directed towards Luisa. However, he is on this particular list because he caused several unnecessary deaths (alla Scarpia) and got himself killed in the process (alla Scarpia). He also just seems much meaner than di Luna.
Giuseppe di Stefano as the Duke of Mantua

The Duke of Mantua from Verdi's Rigoletto
Best music, evilest character. I personally think that taking advantage of young girls and then shaming them before everyone is worthy of being labelled a villain. The result of this particular story is not solely his fault, but he plays a dramatic role in its outcome. It was his egotism and the overly-protective nature of Rigoletto that led Gilda to take desperate action to achieve something that probably wasn't even worth the trouble. The Duke should not be blamed for Gilda's desire to die for him. It's Rigoletto who decided to keep her cooped up her entire life and then show her how a hired murderer prepares to murder her only love. But the Duke is messed up, much like his morals, and is hereby officially granted the Worst Villain Award. Thank you.

Comments

Popular posts from this blog

Opera gala time: Armenian National Philharmonic Orchestra under Eduard Topchjan

The Armenian National Philharmonic Orchestra, performing at the Aram Khachaturian Concert Hall, under the baton and artistic direction of Maestro Eduard Topchjan, never ceases to impress its summer audiences with the exceptionally entertaining and high-quality performances given. Featuring baritone David Babayants, soprano Ani Yorentz, tenor Liparit Avetisyan, soprano Hasmik Torosyan, bass Vazgen Gazaryan, and baritone Gianpiero Ruggeri, the Opera Gala produced an unforgettable effect upon the audience.
The program included selections from Leoncavallo, Gounod, Tchaikovsky, Mascagni, Puccini, Verdi, Mozart, Rossini, and Donizetti.

The spectacular gala opened with Gianpiero Ruggeri’s stunning performanc of Si puo? Si puo? Signore! Signori!, Tonio’s prologue from Ruggero Leoncavallo’s Pagliacci. Not only was the actual content of Tonio’s Prologue an ideal stage-warming number, it also manifested Ruggeri’s intriguing acting and smooth vocal production.

Next on the program was Ani Yorentz…

The Last Judgement: Verdi's Masterful Requiem and Michelangelo's Sistine Chapel

On September 14, 2017, the Armenian National Academic Theater of Opera and Ballet after A. Spendiarian performed Giuseppe Verdi's Requiem, but with a visual twist of murals from the Sistine Chapel, done by Michelangelo. The pictures were projected by "innovative technologies of the future" which allowed to create a "three-dimensional reproduction of the images of Michelangelo's masterpieces". Conducted by San Francisco-born conductor Konstantin Orbelyan Jr. (nephew of the famous Armenian conductor Konstantin Orbelyan), soloists soprano Marine Deinyan, guest mezzo-soprano from the USA Eleni Matos, bass Hayk Tigranyan, and tenor Sargis Aghamalyan performed Verdi's Requiem in this new realization of the stunning centerpiece of classical music. The visual effects were created by Italian stage and visual director Paolo Micciche. In Micciche's own words, "[t]he music of Verdi's Requiem has the same dramaturgy and rhythm as the great frescos by M…

Pianist Hrant Bagrazyan in Concert: In Memory of Professor Igor Yavryan

On July 19, accomplished classical pianist Hrant Bagrazyan gave a summer piano recital at the beautiful venue of the Komitas Museum-Institute, a "museum in Yerevan, Armenia, devoted to the renowned Armenian musicologist and composer Komitas", in memory of Professor Igor Yavryan, who passed away earlier this summer on June 16. Professor Yavryan was Bagrazyan's teacher and mentor.

"He helped me love and appreciate classical music and shaped me as a musician", wrote Bagrazyan. "Without him I wouldn't become a pianist."


The house was completely full, even with the necessity of adding several extra chairs to the rows in order to fit everyone who showed up for the performance. This is not surprising considering the high quality of the performance given.

The stunning program consisted of Komitas'  Six Dances, Johannes Brahms' Sonata No. 3 Op. 5 in f minor, Arno Babajanian's Six Pictures, and Maurice Ravel's Reflections. 


Komitas wrote th…