How do you pronounce this?
Susan Thompson
How do you pronounce "Schicchi" like in Puccini's opera "Gianni Schicchi"
Thanks
Bob Morrow
In article <3o5qov$3...@mark.ucdavis.edu>, ez04...@chip.ucdavis.edu (Susan Thompson) writes:
|> O.K. stupid question of the day,
|>
|> How do you pronounce "Schicchi" like in Puccini's opera "Gianni Schicchi"
As my small arms instructor in the army once said:
"There is no such thing as a stupid question... there are, however,
stupid mistakes!"
Schicchi should be pronounced "Ski-key" using the standard mid-American
accent as my basis.
Cheers,
BOB
Andrew Miller Brumana
>O.K. stupid question of the day,
>
>How do you pronounce "Schicchi" like in Puccini's opera "Gianni Schicchi"
>
>Thanks
Don't feel bad... the first time I was IN Gianni Schicci, I realized I
was pronouncing it wrong!!!
Schicci: Is pronounced Ski - Key
(remember that with Italian you have to pronounce
the double consonants, so it will untimately sound
like Skik-key.)
Hope this helps...
------------Andrew
Elizabeth Ehrenwald
: O.K. stupid question of the day,
: How do you pronounce "Schicchi" like in Puccini's opera "Gianni Schicchi"
: Thanks
--
the "ch" in Italian is pronounced like a "k". So it sounds like
"Skiki"
eve-eve-eve-eve-eve-eve-eve-eve-eve-eve-eve-eve-eve-eve-eve-eve-eve
Elizabeth Vera Ehrenwald
Lewis and Clark College "Smile. It makes people
Portland, Oregon wonder what you're up to."
e...@lclark.edu
Eric Dew
>O.K. stupid question of the day,
>
>How do you pronounce "Schicchi" like in Puccini's opera "Gianni Schicchi"
>
>Thanks
Whole name would be pronounced Johnny Skeeky.
EDEW
Ann Feeney
the "i" is pronounced like the English long "e" sound.
In article <3o5qov$3...@mark.ucdavis.edu>,
Susan Thompson <ez04...@chip.ucdavis.edu> wrote:
>O.K. stupid question of the day,
>
>How do you pronounce "Schicchi" like in Puccini's opera "Gianni Schicchi"
>
>Thanks
--
Ann Feeney
Resource Center Librarian I don't speak for Ligature.
Ligature, Inc. I don't sing for La Scala, either.
(312)648-1233 And I only do windows on a computer.
afe...@mcs.com
David Oyen
>Don't feel bad... the first time I was IN Gianni Schicci, I realized I
>was pronouncing it wrong!!!
>Hope this helps...
Don't want to be too unkind, but if you sang in it....
shouldn't you be able to spell it?
Especially when the correct spelling was in the post
to which you replied!
The way you spelled it, it would, of course, be said:
skeetchy, instead of skeeky.
Keep up the singing.
Another bass-baritone.
By the way, does anyone else out there sing
Grieg and Sibelius Sanger in the originals, rather
than in translation?
David Oyen
Shannon Smith
>Susan Thompson (ez04...@chip.ucdavis.edu) wrote:
>: How do you pronounce "Schicchi" like in Puccini's opera "Gianni Schicchi"
>--
>the "ch" in Italian is pronounced like a "k". So it sounds like
>"Skiki"
...with IPA "i"s, which sound a lot like what we would transcribe as
"ee," as in "bee."
Ross Driedger
>>In article <3o5qov$3...@mark.ucdavis.edu> ez04...@chip.ucdavis.edu (Susan Thompson) writes:
>>>
>>>
>>
>>
>>Whole name would be pronounced Johnny Skeeky.
AAAAHHHHHH!!!! I would have been shot by a hundred thousand opera
coaches for pronouncing it that way!
Try "Jahn - nee Skeek - kee".
Don't forget the proper vowel and the double 'n' in 'Gianni' or the double
'c' in 'Schicchi'.
At least the coaches won't be ready to fire when you say it.
C'mon guys, these double letters are important in Italian!
Ross Driedger
cs4g...@maccs.dcss.mcmaster.ca
"The whole problem with the world is that fools and fanatics are always so
certain of themselves, but wiser people so full of doubts." (B. Russell)
K.K. Kua
>O.K. stupid question of the day,
>
>How do you pronounce "Schicchi" like in Puccini's opera "Gianni Schicchi"
>
>Thanks
The "cchi" part should be a hard c sound, thus it should sound like
SKI-key
Hope it helps.
Regards,
K.K.
*******************************************************************************
Mi pungichi, mi stuzzichi, mi tuzzichi, mi mastichi... Amor, que questo h'aime?
Pieta, pieta, pieta. Amor e un cherto que, que disperar mi fa ;-)
*******************************************************************************
Syam Gadde
Ok, lots of people have mentioned the double consonants, so it would be
'Skeek-kee'. Now here's *my* question. Do you eliminate the double
consonant when singing it really fast? As in 'Schicchi! Schicchi!
Schicchi! Schicchi!' somewhere near the middle of the opera. It seems a
veritable tongue twister otherwise.
-syam
--
Syam Gadde....................LSRC D339..................(O) (919)660-6594
Department of Computer Science, Duke University, Durham, NC 27708-0129
Internet: ga...@cs.duke.edu
Eric Dew
>ed...@netcom.com (Eric Dew) wrote:
>>>In article <3o5qov$3...@mark.ucdavis.edu> ez04...@chip.ucdavis.edu (Susan Thompson) writes:
>>>>
>>>>How do you pronounce "Schicchi" like in Puccini's opera "Gianni Schicchi"
>>>>
>>>>Thanks
>>>
>>>
>
>AAAAHHHHHH!!!! I would have been shot by a hundred thousand opera
>coaches for pronouncing it that way!
>
>Try "Jahn - nee Skeek - kee".
>
>Don't forget the proper vowel and the double 'n' in 'Gianni' or the double
>'c' in 'Schicchi'.
>
>At least the coaches won't be ready to fire when you say it.
>
>C'mon guys, these double letters are important in Italian!
>
>
>
>Ross Driedger
>cs4g...@maccs.dcss.mcmaster.ca
>
>
>"The whole problem with the world is that fools and fanatics are always so
>certain of themselves, but wiser people so full of doubts." (B. Russell)
>
>
Gi-Anni Shiek-shi or some other mutations. Perhaps I should have
said: Johnny Skeeky with a Bahston accent (or is it Brooklyn?).
EDEW
Susan Thompson
name of the best waiter in Vicenza. The Skeeky was what I originally was
leaning towards, but it just sounded funny (funny weird, as well as funny
haha). Now, I've got to see the opera! :-)
--
Susan Thompson * "A society without any objective legal
2L * scale is a terrible one indeed. But
srtho...@ucdavis.edu * a society with no other scale but the
* legal one is not quite worthy of man
* either." Solzhenitsyn
Ross Driedger
>>
>>Ok, lots of people have mentioned the double consonants, so it would be
>>'Skeek-kee'. Now here's *my* question. Do you eliminate the double
>>consonant when singing it really fast?
No. What happens naturally is a subtle difference of the preceding vowel
between 'Schicchi' and (a hypothetical) 'Schichi'
>>It seems a veritable tongue twister otherwise.
Piece of cake when compared to doing patter in English or <gasp> German.
Teutonic languages were just not designed for patter. Try reciting
"I am the very model of a modern Major-General" very quickly. Now THAT'S
tough.
Ross Driedger
>>I was trying to make sure that she didn't pronounce it
>>Gi-Anni Shiek-shi or some other mutations. Perhaps I should have
>>said: Johnny Skeeky with a Bahston accent (or is it Brooklyn?).
OK. I understand the point you're trying to make. Pronouncing it
"Gi-Anni ..." would make the person sound like a CBC radio announcer.
BTW, I think it would be Bahston.....
Ross Driedger
>>Thanks all for the pronounciation help. The Gianni wasn't a problem --
>>name of the best waiter in Vicenza. The Skeeky was what I originally was
>>leaning towards, but it just sounded funny (funny weird, as well as funny
>>haha). Now, I've got to see the opera! :-)
Do! It is a very funny opera.
Luigi Manna
>
>Ok, lots of people have mentioned the double consonants, so it would be
>'Skeek-kee'. Now here's *my* question. Do you eliminate the double
>veritable tongue twister otherwise.
Since Italian is one of my native tongues I would like to clarify
this pronunciation business. What most people have written as far
as english equivalent of the Italian pronuciation is right.
"Skeek-kee" is kina right. This doesn't have to be a problem no matter
how fast you speak. The point is that the - ( dash ) plays a VERY
important role. "Doppie" in italian are not pronounced by making
a "singola" louder, nor with more enphasis. It's achieved simply
by making a PAUSE. And that's what the - ( dash ) means. A simple
pause between starting to pronounce the consonant and its end.
Therefore to make the consonants discernibles as "doppie" when
you speak fast just make shorter pauses then when you speak
( sing ) at normal speed. Check out Don Bartolo's aria from Rossini's
"Il barbiere". This is a godd example of a fast aria sung in italian.
Still, even the great tenors can make this kind of "mistake" ...
specially those having spanish or another romance language as
native tongue. They tend to forget easily. This happens very often
with early Carreras, less often with Placido. Pavarotti ... well
you know ;-).
Luigi Manna--
Human Brain Project
University of Southern California
Los Angeles, CA 90089-2025
Mitchell Weitz
>My favorites are the Von Karajan on London with Freni and Pavarotti, the
>Kleiber with Cotrubas and Pavarotti, and Serafin, with De los Angeles and
>Bjoerling
--
Ann, don't you mean BEECHAM with de los Angeles and Bjoerling?
Mitchell Weitz mwe...@pipeline.com
S. Lovely
I'd like to get a good CD version of La Boheme but have no idea which
ones to consider. Any recommendations?
Thanks.
Ann Feeney
Kleiber with Cotrubas and Pavarotti, and Serafin, with De los Angeles and
with a lot of effort gone into both tonal blend in the ensembles, and
also a sense of the characters interacting. The Kleiber shares
Pavarotti's energetic, extroverted Rodolfo, but has Cotrubas' much more
fragile Mimi. The rest of the ensemble (Capucilli, Popp, Yesterenko) are
also wonderful. The sound (a live performance from La Scala) is not as
good as the Von Karajan's, but more than listenable. The Serafin does
not have very good sound, and the CD transfer (at least on my pressing)
was not all that good--there are some acidities in de los Angeles' top
that I don't recall from the LP. But Bjoerling's Rodolfo is much more of
a poet than Pavarotti, and it's a far more "romantic" reading of the
score on the whole, more so than Kleiber's almost crystalline
transparency or Von Karajan's sometimes heavy conducting.
Joel P. Klein
wonderful despite the dated sound. It captures Peerce and Albanese at their
vocal peaks, and the Maestro's vocal work during "Che gelida manina"
is not to be missed.
A. L. Winkler
recording (early sixties) with Thomas Schippers conducting. It is
understated, with very little verismo, which for me lets the true story
emerge instead of focusing attention on vocal histrionics. Freni's voice
is clear and steady, and Gedda has a truly warm Rodolfo. The one
drawback is Mariella Adani as Musetta--great spirit, but screams sharp.
--Andrea
Ann Feeney
In article <3oenfv$l...@pipe2.nyc.pipeline.com>,
Mitchell Weitz <mwe...@nyc.pipeline.com> wrote:
>In rec.music.opera afe...@MCS.COM (Ann Feeney) said:
>
>
>>My favorites are the Von Karajan on London with Freni and Pavarotti, the
>>Kleiber with Cotrubas and Pavarotti, and Serafin, with De los Angeles and
>
>>Bjoerling
>--
>
>Ann, don't you mean BEECHAM with de los Angeles and Bjoerling?
>
>
>Mitchell Weitz mwe...@pipeline.com
Panther
Dan S. writes:
> Another suprise is the Votto reading on EMI with Callas/Di Stefano is
>actually very engaging.
Erk. Never heard it, didn't know it existed. But just sent off an
email to a most comprehensive collector begging for a tape.
The best Boheme I ever heard was in Paris at the Opera
Comique [strange though that combination may sound].
Sat there in the red velvet box with tears running down my cheeks.
But a very close runner-up was the first opera I ever saw
at the Municipal Auditorium in San Antonio, Texas when
Dorothy Kirsten sang Mimi.
[thank you, Daddy, for taking me]
Dan S.
:-> My favorites are the Von Karajan on London with Freni and Pavarotti, the
:-> Kleiber with Cotrubas and Pavarotti, and Serafin, with De los Angeles and
:-> Bjoerling. The Von Karajan has perhaps the best ensemble feel to it,
:-> with a lot of effort gone into both tonal blend in the ensembles, and
:-> also a sense of the characters interacting. The Kleiber shares
:-> Pavarotti's energetic, extroverted Rodolfo, but has Cotrubas' much more
:-> fragile Mimi. The rest of the ensemble (Capucilli, Popp, Yesterenko) are
:-> also wonderful. The sound (a live performance from La Scala) is not as
:-> good as the Von Karajan's, but more than listenable. The Serafin does
:-> not have very good sound, and the CD transfer (at least on my pressing)
:-> was not all that good--there are some acidities in de los Angeles' top
:-> that I don't recall from the LP. But Bjoerling's Rodolfo is much more of
:-> a poet than Pavarotti, and it's a far more "romantic" reading of the
:-> score on the whole, more so than Kleiber's almost crystalline
:-> transparency or Von Karajan's sometimes heavy conducting.
:->
:->
:->
:-> --
:-> Ann Feeney
:-> Resource Center Librarian I don't speak for Ligature.
:-> Ligature, Inc. I don't sing for La Scala, either.
:-> (312)648-1233 And I only do windows on a computer.
:-> afe...@mcs.com
There may in fact be a Boheme with Bjorling and De Los Angeles
conducted by Tullio Serafin, but I think you may be thinking of the
reading of Sir Thomas Beecham. It is available on EMI CD's. It is very
nearly the model version on record. It is my first recommendation if you
are not a fidelity fiend (although the CD issue is very good for MONO
scources).
Serafin did conduct a recording with Tebalbi and Carlo Bergonzi, but I
have never heard it.
For digital sound, the Karajan set on LONDON/ DECCA is very moving.
Pavarotti is par for the fat man (a bit arrogant for my tastes, but the
voice is pretty damned great actually). Freni is in FABULOUS voice. The
Third act finale on this version is one of my favorite recorded operatic
moments ever.
Another suprise is the Votto reading on EMI with Callas/Di Stefano is
actually very engaging. Callas never sang a Mimi on stage that I know,
but she is suprisingly girlish here (as she can be). The meeting scene in
Act1 is a wonderful exchange between lovestruck stupids. Each "Si" and
"grazie" of Callas speaks arias worth of tenderness!
---Scott Vanderpool
Austin, Texas
Studente di Voce(baritono)
Kitchen Trash
"Ah! Tessete i veli vaghe donzelle,
mentre e nei cieli l`astro maggior che
sono i veli al brillar delle stelle
piu cari all`amor."
--Eboli, from Verdi's "Don Carlo"
TODD DISSINGER
opinions:
Beecham: Too slow
Toscanini: Too fast
Budget recommendations
Karajan: Live 1963 (my favorite all time, sound isn't great though)
Serafin: With Tebaldi and Bergonzi
Leinsdorf: With Tucker and Moffo
Todd
John A. Montgomery
: My favorites are the Von Karajan on London with Freni and Pavarotti, the
: Kleiber with Cotrubas and Pavarotti, and Serafin, with De los Angeles and
: Bjoerling. The Von Karajan has perhaps the best ensemble feel to it,
The Karajan/Freni/Pavarotti and Beecham/De los Angeles/Bjoerling are
both very beautiful. Kleiber/Cotrubas/Pavarotti sounds like an interesting
combination, but I've never heard it. Actually, I didn't even know it
existed. I'd be grateful if you could post the label and catalog
number so I could track it down.
Others I've enjoyed:
Serafin/Tebaldi/Bergonzi on London(Decca)
Davis/Ricciarelli/Carreras on Philips
Solti/Caballe/Domingo on RCA
I think both the Serafin and Davis recordings are available at bargain
prices in the US. Karajan and Beecham are full price (and worth it).
I don't know if Solti is currently avaliable or not, but it's worth
hearing for Caballe's lovely singing, if not for Solti's conducting.
John Montgomery
lbf6208
: The best Boheme I ever heard was in Paris at the Opera
: Comique [strange though that combination may sound].
Nothing strange about that. _Boheme_ had its French premiere at the
Opera Comique. So did _Butterfly_. The French were very picky
about what constituted "grand" opera.
--
Linda B. Fairtile
New York University
lbf...@is.nyu.edu
lbf6208
: : The best Boheme I ever heard was in Paris at the Opera
: : Comique [strange though that combination may sound].
Sorry. I just realized what you meant by "strange combination." I've
got to get my head out of these reference books.
Ann Feeney
It's not listed in Opus, but a lot of in-print recordings are not in
there, and I've seen it listed in the cdconnection catalog.
Telnet cdconnection.com.
--
Ann Feeney
Resource Center Librarian I don't speak for Ligature.
Ligature, Inc. I don't sing for La Scala, either.
(312)648-1233 And I only do windows on a computer.
A. L. Winkler
: My favorites are the Von Karajan on London with Freni and Pavarotti, the
: Kleiber with Cotrubas and Pavarotti, and Serafin, with De los Angeles and
: Bjoerling. The Von Karajan has perhaps the best ensemble feel to it,
Ann, did you mean the Kleiber/Cotrubas/Domingo/Milnes recording (DG
2707-103)? Or has she recorded a second version? Either way, it is very
good, and my favorite Traviata. Much though I love Sills' voice for
Violetta, the tempi on her recording are enough to make me want to snatch
the baton from the conductor and speed things up myself ...
When was the Freni/Pavarotti recorded? If it was before 1980 or
so, I'll try finding it. (I love her voice, but she tends to overact and
sing recently unless reined in a bit. But then, I'm the one that prefers
her very first Boheme, too, so ....)
Cheers,
ALW (NOT Lloyd-Webber!)
A. L. Winkler
thought we were talking Traviata Idiot me. Please ignore my past babble!
--ALW
Ann Feeney
A. L. Winkler <andw...@doc.cc.utexas.edu> wrote:
>
>Ann, did you mean the Kleiber/Cotrubas/Domingo/Milnes recording (DG
>2707-103)? Or has she recorded a second version? Either way, it is very
>good, and my favorite Traviata.
She _has_ another recording, with Gedda as Alfredo and Edita Gruberova as
Flora (early in her career), but I haven't heard it yet. I love the DG,
though! (I find her voice very appealing, and she is a superb vocal
actress--her Adina, also with Domingo, actually makes sense
dramatically--her "Si vedra" is so full of "I'll make him pay more
attention to me!" that I burst out laughing each time I hear it.)
> When was the Freni/Pavarotti recorded? If it was before 1980 or
>so, I'll try finding it. (I love her voice, but she tends to overact and
>sing recently unless reined in a bit. But then, I'm the one that prefers
>her very first Boheme, too, so ....)
Freni recorded Traviata twice, once with Bonisolli as a surprisingly good
Alfredo (ordinarily I find his voice like del Monaco's, but twice the
bluster and nowhere near half the beauty, but that's my own opinion), and
another time with Cioni. (I've not heard that one.) Both recordings are
available in the U.S. due to the Italian 20 year copyright limits; I
believe both were recorded at La Scala, where she sang Violetta, and then
decided (wisely, I think) to take it out of her repertoire.
> Cheers,
>
> ALW (NOT Lloyd-Webber!)
>
If you were Mr. Lloyd-Webber, I'd expect to find hints of everybody
else's posts in yours! ;-)
bse...@hulaw1.harvard.edu
should be the Beecham recording which I believe is out on CD. The Toscanini
doesn't always have the greatest singing, but the "Old Man" did conduct the
premiere, and it does have Albanese. The Freni/Pavarotti recording has some
gorgeous singing, but Karajan conducts it as if it were by Brahms.
Those are the only ones I can speak on; there are thousands to choose
from. . .
James Lewis
: O.K. stupid question of the day,
: How do you pronounce "Schicchi" like in Puccini's opera "Gianni Schicchi"
: Thanks
Seek-ee (more or less)q
--
Jim Lewis - jk...@freenet.scri.fsu.edu
. . . Without ecology . . . there would _be_ no economy.
Panther
bse...@hulaw1.harvard.edu writes:
> It depends on what kind sound you want, singing, etc. First choice
>should be the Beecham recording which I believe is out on CD.
Definitely.
>The Toscanini doesn't always have the greatest singing, but the "Old Man"
>did conduct the premiere, and it does have Albanese.
To say the least.
>The Freni/Pavarotti recording has some gorgeous singing
bleugh [by comparison to the foregoing]
Never mind, my Callas-fanatic friend does have the tape and
is gonna send it to me, altho even he says she didn't quite
"get into" Mimi.
Dorothy Kirsten. There must be a a recording somewhere.
OK, she had a big house in San Antonio, Texas, but lawsy, that
woman could sing. And act.
Melissa A. Miles
: : How do you pronounce "Schicchi" like in Puccini's opera "Gianni Schicchi"
: : Thanks
: Seek-ee (more or less)q
Er--I think it's actually "Skeek-ee."
^
Peter Bengtson
Rick Teller
>
>The correct pronounciation is "Djannie Skickie".
>
>
not as soft as English "chair." Hence the double c.
GunderZork
Teller) wrote:
> In article <3p9v6s$9...@news.pi.se>, jo...@fst.se says...
> >
> >The correct pronounciation is "Djannie Skickie".
> >
not if you mean Skickie to rhyme with sticky.
it should rhyme with squeaky.
also i don't think Italian pronunciation of
Gianni requires a soft D before the j sound.
so i'd say it's more like (and this is how they
pronounce it on the recording i have)
Johnny Skeeky
Mickie Fitton
>> >The correct pronounciation is "Djannie Skickie".
>pronounce it on the recording i have)
>
>Johnny Skeeky
Oddly enough, this will depend where the original enquiry came from. The American
pronunciation would be reasonably close, but in Australia, it would be a long way out.
Jahnny would be closer
Mickie Fitton
Jay P. Winston
Djani Skiki
There is a wierd looking 3 which would normally follow the D for the
English J sound, but for this sake, I will just use a J instead.
It would look as follows in English:
Johnny Skeekie
Rick Teller
cgun...@e4e.oac.uci.edu says...
>
>In article <3ph152$2...@news.envisionet.net>, rick....@the-spa.com
(Rick
>Teller) wrote:
>
>> In article <3p9v6s$9...@news.pi.se>, jo...@fst.se says...
>> >
Hey! No I didn't! Please use the quotes correctly!
-- Rick Teller
Lydian
Jahnnnnnny or something like that.
Lydian