445:, grasp the sword!’ Sardanapalo hesitates, fearing that violence leads only to the suffering of innocents (‘every glory is a lie, if it must be bought with the weeping of afflicted humankind’). In a lyric aside, Mirra wonders aloud why he is hesitating, and seeks to reawaken his noble valour through her sensuous appeal. Finally, he is persuaded, and agrees to resist the rebels with force. A closing trio sees the king growing more contented as military ruler, Mirra praising his new noble demeanour, and Beleso beating the drums of war as the army mobiles and begins to march into battle.
40:
287:, by whose criteria an Italian opera could have appeared somewhat outmoded (even as Liszt's ambition was expressly to modernise the genre, the better to translate a literary source into 'musical drama'). But Trippett has argued this was unlikely to have been a decisive factor, and suggested instead that Liszt's abandonment resulted from his concern over the libretto, and the fact that he never received a revised libretto for Acts 2 and 3, so could not set these to music.
122:. Liszt was ambitious for his project, and planned to dovetail his retirement as a virtuoso with the premiere of his opera. He worked on it intermittently between 1845 and 1852, once declaring it 'well on the way toward completion,' but ceased work on it thereafter. The first act had been completed in a detailed, continuous particell, but there is no evidence of any music being notated for Acts 2–3. As an Italian opera, it would almost certainly have been called
1956:
432:‘ill-fated flame that brings nothing but shame and grief’. At this the king chides her, leading to the exchange: Sard: ‘Do you love me?’ Mirra: ‘Would that I could not!’ The scene now turns, developing into a triumphant love duet. And the king, unaware of Mirra's complex motives, declares the strength and purity of their love (‘let us love as long as the fervid age smiles upon us’), even as she notes only the lack of dignity her adulterous role carries.
57:
1966:
258:
managed to deliver the first act, in
Italian, on New Year's Day 1847. The remainder followed 18 months later, though Liszt wrote to Belgiojoso querying aspects of the text for Acts 2–3. She replied with further suggestions, and it is unclear whether the correspondence continued. Liszt delayed for a time, perhaps awaiting revisions to Acts 2 and 3, but began composing the first act in earnest around 11 April 1850.
253:, agreed to the commission and received a down-payment, but missed several deadlines and - when prompted by Liszt's assistant - requested additional funds. Growing frustrated at the delay, Liszt decided to end the agreement and move on. (Mallefille did finally submit a prose scenario, but it was too late for Liszt to consider continuing his planned collaboration with the Frenchman.)
423:
she loves the King deeply, yet is ridden with guilt, for it was he who conquered and destroyed her homeland. While a majority of his subjects don't respect him (owing to his effeminate, non-brutal ways), she closes the scene with a virtuosic cabaletta that celebrates the sincerity of her love for him (‘my heart was blessed with indescribable contentment’).
213:, but the Sardanapalus of Ctesias, "an effeminate debauchee, sunk in luxury and sloth, who at the last was driven to take up arms, and, after a prolonged but ineffectual resistance, avoided capture by suicide" is not an identifiable historical character. Ctesias's tale (the original is lost) was preserved by
440:
At the height of the lovers' passion, Beleso—an elder statesman—arrives suddenly, warning of war. He chides the king for not taking his role seriously, for forgetting his people's needs, and ignoring the ‘inner voice of duty’. A band of rebel
Satraps are readying forces against the empire, and Beleso
139:
Liszt first mentions his desire to compose a large-scale opera in
October 1841. Alongside his interest in the genre's capacity for realizing literary narratives in music, he was motivated, in part, by the prospect of being recognised as more than a travelling keyboard virtuoso; with Rossini's stature
422:
Mirra, unpersuaded, begs to be left alone, and the chorus departs. Now by herself, she daydreams of the lost happiness of her life in Ionia, prompted by the memory of her mother's smile. Awakening from the dream, she remonstrates at being torn in two directions (‘a slave, alone, plaything of fate’):
453:
Initial comments on Liszt's manuscript had declared it 'a series of sketches' (1911). But in 2016, musicologist David
Trippett discovered that the music and libretto are both decipherable and continuous, constituting the first act of Liszt's planned three-act opera. Two separate editions of Liszt's
431:
The King enters, and—seeing Mirra's tears—seeks to comfort her. She says she has not the strength to tell him her woes and he should not ask her, but he implores her (‘Speak! Speak! At hearing your voice I tremble with joy and hope’). At his repeated insistence, she explains only that theirs is an
257:
then procured an unnamed
Italian poet ('my nightingale') as the new librettist, a poet who was under house arrest at the time for agitating towards Italian independence. In December 1846, Liszt sent his assistant, Gaetano Belloni, to Paris with orders 'to bring me back, dead or alive, a poem '; he
130:
in his French correspondence. The music Liszt completed remained silent until 2016 when
British musicologist David Trippett first established the legibility of Liszt's N4 manuscript, and produced both a critical edition and realized an orchestral performing edition (after Liszt's own instrumental
413:
A festival is underway. The women of the harem invite revellers to dance, with erotic intent. They surround Mirra, telling her to forget her troubles and revive her spirits through love (‘the light and air speak of love / Come, rejoice in the shared joy’). Mirra is sad, nostalgic for her home in
538:
awarded it 'Editor's Choice' declaring it: "immensely important … the act is beautifully shaped, while Liszt’s fluid treatment of bel canto structures reveals an assured musical dramatist at work. Trippett has carefully modelled his orchestration on Liszt’s works on the 1850s, and it sounds
281:, notes in December 1851 that he would soon be asked to produce a provisional orchestration of the opera for Liszt, but this never took place. Shortly thereafter Liszt seems to have abandoned his work on the opera. It is possible that his diffidence resulted from reading Wagner's essay
240:
finale will "aim to set the entire audience alight". By 1849, when he at last began to write the music, he conceived the idea of further altering the libretto by adding an orgy scene, perhaps after
Delacroix, but this was turned down by Belgiojoso.
529:
declared it "A torridly exciting recording … It is not too big a statement to say that the work’s emergence changes music history. ... You wonder what heights were left to breach in the unwritten acts. … A most special and historic release"
414:
Greece and tearfully broken hearted (‘Have no further thought for me! Leave!’). The women, undeterred, encourage her to enjoy her position as the King's favourite and embrace a life of ‘boundless ecstasy’ enraptured by ‘angelic kisses’.
573:
wrote of "an entirely convincing drama, packed with incident and bursting with thrilling vocal and orchestral colour – think
Bellini reimagined by Wagner and you have some idea of the vast emotional sweep of this gripping music."
472:
146:, composed aged 13, closed after four performances at the Paris Opéra, and could hardly qualify to raise his status.) Among the range of opera subjects he considered, he initially settled on an opera based on Byron's
489:
is scored for 1 piccolo, 2 flutes, 2 oboes, 1 cor anglais, 2 clarinets, 1 bass clarinet, 2 bassoons, 1 contrabassoon, 4 horns, 3 trumpets, 2 trombones, 1 bass trombone, 1 tuba, percussion, 2 harps, strings.
998:
556:(Critics Choice) declared it "lush and Romantic to a fault, with long-spun melodies, an innate sense of dramatic thrust and some thrilling choral work. ... Liszt does forge his own voice."
458:, and an orchestrated performing edition (Schott) that draws critically on all Liszt's indications and cues for orchestration. No music or libretto text is known to exist for Acts 2–3. The
441:
invokes the ancient kings of
Assyria in disgust (‘witness the error of your successor, forgetting the sceptre for a base slave mistress’) before urging the king to fight: ‘set aside the
236:). These influences may have stoked Liszt's interest in the tale's potential for operatic treatment. With reference to the inferno that ends Byron's play, he tells Belgiojoso that
179:, was seriously ill (he would die in 1848). A large-scale Italian opera could have placed him in the running for Donizetti's influential post, as he wrote in an 1846 letter to the
517:. This recording was released on 8 February 2019 and arose from the world premiere performance in Weimar, 19–20 August 2018. Upon its release the recording received international
1677:
656:
Hans von Bülow to his mother, 21 June 1849. Hans von Bülow: Briefe und
Schriften, ed. Marie von Bülow, 8 vols. (Leipzig: Breitkopf & Härtel, 1895–1908), i, 180.
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1923:
1548:
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183:. Yet he told her only a few months later that, given the conduct of the people involved, "that post will do me no good" and was no longer a consideration.
1969:
589:'s Recordings of the Year, and was awarded 'Recording of the Year' in the category 'Premiere Recording (rediscovery / reconstruction)' by Presto Classical.
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329:
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552:(Album of the week) spoke of "rip-roaring stuff, characteristic of the dramatic orchestral narratives of the composer’s neglected tone poems," and
841:
2015:
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1918:
820:
553:
2020:
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565:, responding to a fragment released in 2017, spoke of Liszt's 'white-hot aria ... The music is a great tide of chromatic lushness'.
1120:
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228:, which featured an immolation scene, in preparation for which a "sacrifice of the innocents" took place, as famously depicted in
1941:
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Between April 1850 and December 1851 Liszt notated 110 pages of music (now in the Goethe- und Schiller-Archiv in Weimar, and
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980:"Franz Liszt: Sardanapalo, Mazeppa review – lost opera of glittering scope | Classical CD of the week"
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This well-known 1840 painting of Liszt at the piano, surrounded by musical contemporaries, by the artist
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in mind, a major opera offered Liszt a way of entering 'the musical guild'. (His early one-act opera,
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Kenneth Hamilton, "Not with a bang but a whimper: The death of Liszt's 'Sardanapale' ",
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1086:"Classical CDS of the year: a lost Liszt, Feldman, Clara Schumann and small-scale gems"
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cues for orchestration). This received its world premiere in Weimar on 19 August 2018.
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unquestionably authentic. A fine work by one of the most inventive of composers."
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668:"Liszt's lost opera: 'beautiful' work finally brought to life after 170 years"
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was digitised and made available online by Klassik Stiftung Weimar in 2019.
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La Mara , Liszt und die Frauen (Leipzig: Breitkopf & Härtel, 1911), 49.
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505:(Mirra), Airam Hernández (King Sardanapalo), Oleksandr Pushniak (Beleso)
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Liszt had been present at the second performance in 1830 of the oratorio
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635:, ed. David Trippett, with Marco Beghelli (libretto), critical edition,
52:(1827), which contributed to Liszt's treatment of the story in his opera
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65:
1049:"White-Hot Aria, Engulfing Bass: This Week's 8 Best Classical Moments"
793:"NEW! Abandoned Liszt Opera Sardanapalo Premieres in Weimar in August"
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Towards the end of 1845 he settled on the subject of Byron's tragedy
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880:"Abandoned Liszt opera finally brought to life - 170 years later"
842:"Liszt's lost opera is deciphered at last from a jumble of notes"
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In 2022, scholarly reviews of the critical edition appeared in
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Pettitt, Hugh Canning, David Cairns, Paul Driver and Stephen.
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manuscript were published in 2019: a critical edition for the
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in Vienna (1847), and finally to "Paris or London" (1852).
821:"Listen to the First Glimpse of a Long-Lost Liszt Opera"
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Series IX, Vol. 2 (Editio Musica Budapest, 2019), 180pp.
1678:
Fantasy on Themes from Mozart's Figaro and Don Giovanni
217:, and it is on this account that Byron based his play.
1924:
Franz Liszt International Piano Competition (Budapest)
493:
190:, Liszt first planned to have the opera performed in
163:(1821). At this time Liszt had been appointed at the
32:"Sardanapale" redirects here. For the racehorse, see
898:"Editio Musica Budapest – Sheet Music from Hungary"
840:Arts Correspondent, Jack Malvern (March 7, 2017).
839:
608:Correspondence de Liszt et de la Comtesse d'Agoult
1982:
269:that the opera would be ready for production in
474:Research Chronicle of the Royal Musical Society
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232:'s sensational 1828 painting of the subject (
194:in 1846–47, later switching the venue to the
1118:
1015:: CS1 maint: multiple names: authors list (
1919:International Franz Liszt Piano Competition
548:it was "a lost opera of glittering scope,"
186:In correspondence with his close associate
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1121:"Recordings of the Year 2019 - Our Top 10"
1106:"Gramophone - Recordings of the Year 2019"
201:Sardanapalus was, according to the writer
64:, features on the rear wall a portrait of
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961:"LISZT Sardanapalo. Mazeppa (Karabits)"
14:
1983:
1942:University of Music Franz Liszt Weimar
1909:Liszthaus Raiding (Liszt's birthplace)
958:
818:
623:Journal of the Royal Music Association
1248:The Bells of the Strasbourg Cathedral
1138:
1084:Clements, Andrew (19 December 2019).
942:"Kirill Karabits: Sardanapalo review"
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244:
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2016:Operas based on works by Lord Byron
1119:O'Reilly, Chris (6 December 2019).
996:
584:s Top 10 Classical CDs of 2019, in
494:First recording and press reception
156:in 1844, but nothing came of this.
24:
1531:Harmonies poétiques et religieuses
666:Connolly, Kate (August 17, 2018).
577:In December 2019 it was listed in
480:
152:, and even obtained a libretto by
25:
2037:
2021:Operas set in mythological places
940:Brown, Geoff (February 8, 2019).
819:Cooper, Michael (March 6, 2017).
126:, though Liszt referred to it as
1964:
1955:
1954:
1488:Variation on a Waltz by Diabelli
978:Jeal, Erica (February 7, 2019).
959:Ashley, Tim (January 22, 2019).
615:An Uncrossable Rubicon: Liszt's
448:
389:Deutsches Nationaltheater Weimar
209:. Some have identified him with
1728:Hans Bronsart von Schellendorff
1287:Ce qu'on entend sur la montagne
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27:Unfinished opera by Franz Liszt
999:"On record: Classical, Feb 17"
797:Seenandheard-international.com
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249:Liszt's librettist of choice,
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304:Premiere cast, 19 August 2018
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112:based on the 1821 verse play
1914:Franz Liszt Academy of Music
277:in 1852. Liszt's assistant,
7:
396:
10:
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1469:Morceau de salon, Ab Irato
1463:Grandes études de Paganini
746:David Trippett (2018), 385
593:
485:The performing edition of
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31:
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1901:
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1671:Réminiscences de Don Juan
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222:The Death of Sardanapalus
1294:Tasso: lamento e trionfo
1254:Slavimo slavno, Slaveni!
716:Ollivier, (1934), II 209
290:
1863:Agnes Street-Klindworth
1611:Grand galop chromatique
1597:Bagatelle sans tonalité
884:University of Cambridge
737:, in his notes on Byron
631:Sardanapalo: atto primo
601:Cambridge Opera Journal
188:the Princess Belgiojoso
1549:Sarabande and Chaconne
1374:Other orchestral works
698:Trippett (2018) 380-82
265:in 2019) and wrote to
72:
53:
2006:Operas by Franz Liszt
1853:William Hall Sherwood
1748:Élie-Miriam Delaborde
1456:Transcendental Études
59:
49:Death of Sardanapalus
42:
1808:José Vianna da Motta
1803:Sebastian Bach Mills
1625:Hungarian Rhapsodies
1562:Dem Andenken Petőfis
1494:Années de pèlerinage
1475:Three Concert Études
1432:Piano Concerto No. 3
1427:Piano Concerto No. 2
1422:Piano Concerto No. 1
1175:List of compositions
773:Trippett (2018): 394
764:Trippett (2018): 389
625:143 (2018), 361–432.
507:Weimar Staatskapelle
406:The royal palace at
1646:Rhapsodie espagnole
1639:Rondeau fantastique
1632:Glanes de Woronince
1408:Piano and orchestra
927:En.schott-music.com
782:Trippett (2018) 397
755:Trippett (2018) 398
725:Trippett (2018) 389
688:. 18 February 2019.
686:"Music to the ears"
338:an Ionian slavegirl
251:Félicien Mallefille
205:, the last king of
196:Kärntnertor Theater
104:, is an unfinished
34:Sardanapale (horse)
1937:Lisztomania (song)
1576:La lugubre gondola
1482:Two Concert Études
1267:Les quatre élémens
1053:The New York Times
864:has generic name (
826:The New York Times
707:Hamilton (1996) 48
637:Neue Liszt Ausgabe
603:8/1 (1996), 45–58.
456:Neue Liszt Ausgabe
366:Oleksandr Pushniak
245:Finding a libretto
169:Hoftheater, Vienna
73:
54:
2011:Unfinished operas
1978:
1977:
1848:Giovanni Sgambati
1663:Opera paraphrases
1544:Sonata in B minor
1416:Hungarian Fantasy
613:David Trippett, "
606:Daniel Ollivier,
394:
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181:Comtesse d'Agoult
177:Gaetano Donizetti
16:(Redirected from
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1968:
1958:
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1888:Józef Wieniawski
1858:Alexander Siloti
1758:Arthur Friedheim
1590:Mephisto Waltzes
1508:Feuilles d'album
1398:Mephisto Waltzes
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519:critical acclaim
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230:Eugène Delacroix
215:Diodorus Siculus
44:Eugène Delacroix
21:
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1793:Heinrich Lutter
1778:Frederic Lamond
1763:Karl Klindworth
1743:Arthur De Greef
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1583:Valse-Impromptu
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1278:Symphonic poems
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511:Kirill Karabits
509:, conducted by
503:Joyce El-Khoury
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372:Female chorus,
348:Joyce El-Khoury
330:Airam Hernández
320:King of Assyria
308:Kirill Karabits
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284:Opera and Drama
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165:court in Weimar
154:Alexandre Dumas
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62:Josef Danhauser
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1996:2018 operas
1991:1852 operas
1932:(1975 film)
1930:Lisztomania
1868:Karl Tausig
1569:Nuages gris
1230:Sardanapalo
1206:Lisztomania
1166:Franz Liszt
1067:"Bachtrack"
1031:"Opera Now"
862:|last=
617:Sardanapalo
499:Sardanapalo
487:Sardanapalo
410:. Evening.
316:Sardanapalo
301:Voice type
149:The Corsair
128:Sardanapale
124:Sardanapalo
110:Franz Liszt
83:Sardanapale
77:Sardanapalo
18:Sardanapale
1985:Categories
1893:Géza Zichy
1703:(daughter)
1695:Adam Liszt
1448:Solo piano
1364:Die Ideale
1329:Festklänge
1315:Prometheus
1260:Via crucis
1223:Don Sanche
1194:Late works
908:2018-04-25
644:References
633:(Fragment)
587:Gramophone
535:Gramophone
374:concubines
255:Belgiojoso
143:Don Sanche
135:Background
120:Lord Byron
66:Lord Byron
1438:Totentanz
1011:cite news
854:cite news
619:Revisited
570:Bachtrack
554:Opera Now
526:The Times
263:digitised
1960:Category
1697:(father)
1392:Symphony
1384:Symphony
1343:Hungaria
501:(2019).
471:and the
397:Synopsis
356:a priest
354:Beleso,
1902:Related
1753:Amy Fay
1618:Csárdás
1322:Mazeppa
1308:Orpheus
594:Sources
443:distaff
436:Scene 4
427:Scene 3
418:Scene 2
408:Nineveh
402:Scene 1
379:soprano
343:soprano
336:Mirra,
207:Assyria
203:Ctesias
88:Italian
2001:Operas
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1688:Family
1503:Sonata
1350:Hamlet
1215:Operas
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275:London
92:French
1970:Audio
1501:Dante
1390:Dante
1382:Faust
1182:Music
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468:Notes
325:tenor
298:Role
291:Roles
271:Paris
192:Milan
106:opera
102:S.687
1017:link
866:help
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