Talk:La Cenerentola

message: :Image:La Cenerentola.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.
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replies: text: Image:La Cenerentola.jpg I noticed this imgae is not an image of Ketevan Klemoklidze as Angelina in 'La Cenerentola', but rather of her as Rosina in 'Il Barbiere di Siviglia', also by Rossini, in 2011 at the Teatro Regio di Parma. An image from the production mentioned by the caption can be found at: <http://www.ketevankemoklidze.com/en/on_stage/2/1#prettyPhoto[gallery1]/10/>.  — Preceding unsigned comment added by Sarmccor (talk • contribs) 19:16, 7 April 2014 (UTC)
thread_title: Fair use rationale for Image:La Cenerentola.jpg

message: I do not understand why the role of Angelina is listed as a mezzo-soprano role. I know it is most commonly played by mezzo-sopranos nowadays, but according to my research and what is listed on the page itself, is that Angelina was originally intended to be performed by contraltos. Is it possible to change it so that it could be listed as both ranges being able to sing it? EmilyGreene1984 5:15, 4 Oct 2008 (UTC)
replies: text: Just as has been doen for the role of Sesto in La Clemenza di Tito, the role of Octavian in Der Rosenkavalier, Cherubino in Le Nozze di Figaro, and Dorabella in Così fan tutte, these roles were originally written for voice types that either did not exist or do not reflect modern choices of voices. Sesto was a castrato who is now doen by a mezzo-soprano; Octavian, a soprano now a mezzo-soprano; Cherubino, mezzo-soprano did not exist; Dorabella, the same. Although Angelina could have been originally written for a contralto or a mezzo-soprano, there are hardly any contraltos who do sing this role with regularity. And as I have edited the previous section to reflect the historical fact of the contralto, and the term mezzo-soprano can sometimes be used just to cover all women with powerful lower registers, I have edited the table to reflect modern voice choices for the role as has been done in the above mentioned articles.Chrisfa6789:29, 26 Dec 2008 (UTC)
replies: text: I have reverted  Chrisfa678's edits and rephrased. The original role was written for a contralto. It is even specified as such in the original score, and can be referenced to numerous publications. Please do not continue to remove information from this article. It does a great disservice both to Wikipedia and its readers. It is also highly confusing to the reader to click on the link for the first Angelina and find that she was a contralto. Whether or not there is an overlap of roles sung by contraltos and mezzos, and whether or not contralto is now a rare voice type is immaterial. The role tables used by the Opera Project reflect the original voice type for which the role was written, as well as the most common voice type currently used for the role. Please stop repeatedly making these misleading changes, both here to The Barber of Seville. You are also invited to take this issue to the Opera Project discussion page. Voceditenore (talk) 17:46, 26 December 2008 (UTC)

text: Chrisfa678/71.103.94.196 has once again removed contralto from the role table for Angelina, leaving only mezzo-soprano as the voice type. This makes it the fourth time he has removed this information which had been added or re-added by at least three other editors of this article. So much for seeking consensus. I find this regrettable. But there you have it. Voceditenore (talk) 09:30, 27 December 2008 (UTC)
thread_title:  The role of Angelina was originally intended for Contraltos 

message: In the "Performance History" section, there is no citation for the statement "At the first performance, the opera was received with hostility..." Without proof, this is merely a subjective supposition. Skaizun (talk) 02:09, 6 January 2011 (UTC)
replies: text: Added a quote from Osborne with ref and removed cn tag.  The article in general could do with some attention. --GuillaumeTell 16:58, 6 January 2011 (UTC)
thread_title:  Proof of first performance hostility? 

message: In the "Performance History" section, the first two sentences read "At the first performance, the opera was received with some hostility, but it soon became popular throughout Italy and beyond; it reached Lisbon in 1819, London in 1820 and New York in 1826. Through most of the 19th century, its popularity rivalled that of the Barber, but as the coloratura contralto, for which the role was originally written, became rare it fell slowly out of the repertoire." This is two run-on sentences in a row, and I see how they are logically connected, but I think for readability it would be better if it went something like "At the first performance, the opera was received with some hostility, but it soon became popular throughout Italy and beyond. It reached Lisbon in 1819, London in 1820, and New York in 1826, and through most of the 19th century its popularity rivaled that of the Barber. However, the coloratura contralto, for which the role was originally written, became rare and it subsequently fell slowly out of the repertoire." 
Any opinions? CiaraMisaki (talk)  —Preceding undated comment added 23:42, 14 September 2012 (UTC)
replies: text: IMHO the proposed change is not a great leap forward, mainly because it replaces a simple "but" with a "however" which also starts the very next sentence. -- Michael Bednarek (talk) 12:42, 15 September 2012 (UTC)

text: I can see that. I still think it's less confusing this way, but I agree the last sentence is problematic. CiaraMisaki (talk) 03:14, 21 September 2012 (UTC)
thread_title:  Run-on sentences