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Why is this article not called The Marriage (opera)? No one but a Mussorgsky expert or an opera fan fluent in Russian would refer to this work as Zhenitba. I love Russian as much as anybody. But we might as well write it in Cyrillic. We don't have a Sorochinskaya Yarmarka article, nor do we have a Die Zauberflöte article. This clearly more obscure work should not be an exception. I would not support moving Khovanshchina to The Khovansky Affair. That would be asinine. But maintaining the title of this article as Zhenitba seems elitist and ridiculous. I support migrating this article to The Marriage (opera), or, if necessary, The Marriage (Mussorgsky). Ivan Velikii 06:50, 2 September 2006 (UTC)
The format was changed to reflect these guidelines found in all other opera articles. The arbitrary revert has been re-reverted. Do not make any further changes without discussing your reasons here. Viva-Verdi ( talk) 00:39, 7 July 2012 (UTC)
The difference of opinion involves two recordings tables — my original:
Year | Conductor and Orchestra | Cast: (Podkolyosin, Kochkaryov, Fyokla Ivanovna, Stepan) |
Version | Label [1] |
---|---|---|---|---|
1950? | Aleksey Kovalyov USSR State Radio Orchestra |
Daniel Demyanov, Pavel Pontryagin, Anna Matyushina, Georgiy Abramov |
Ippolitov-Ivanov | LP: Melodiya, Cat: D 011919-22; Westminster, Cat: OPW 1202 |
1953 |
René Leibowitz Orchestre Radio-Symphonique de Paris |
Nicholas Agrov, Jean Mollien, Charlotte Desmazures, Aleksandr Popovitsky |
Duhamel | LP: Oceanic, Cat: OCS 36; Olympic, Cat: OL 9105 |
1982 |
Gennady Rozhdestvensky USSR Ministry of Culture Symphony Orchestra |
Vladimir Khrulev, Aleksandr Podbolotor, Lyudmila Kolmakova, Vladimir Ribasenko |
Rozhdestvensky | LP: Melodiya, Cat: A10 00039 007; CD: Olympia, OCD 145 |
.. and the WikiProject Opera sanctioned version:
Year | Cast: (Podkolyosin, Kochkaryov, Fyokla Ivanovna, Stepan) |
Conductor and Orchestra | Version | Label [2] |
---|---|---|---|---|
1950? | Daniel Demyanov, Pavel Pontryagin, Anna Matyushina, Georgiy Abramov |
Aleksey Kovalyov USSR State Radio Orchestra |
Ippolitov-Ivanov | LP: Melodiya, Cat: D 011919-22, Westminster, Cat: OPW 1202 |
1953 | Nicholas Agrov, Jean Mollien, Charlotte Desmazures, Aleksandr Popovitsky |
René Leibowitz Orchestre Radio-Symphonique de Paris |
Duhamel | LP: Oceanic, Cat: OCS 36, Olympic, Cat: OL 9105 |
1982 | Vladimir Khrulev, Aleksandr Podbolotor, Lyudmila Kolmakova, Vladimir Ribasenko |
Gennady Rozhdestvensky USSR Ministry of Culture Symphony Orchestra |
Rozhdestvensky | LP: Melodiya, Cat: A10 00039 007, CD: Olympia, OCD 145 |
My rationale for my version of the recordings table is fully articulated here: User_talk:Viva-Verdi#Mussorgsky opera recordings tables. The most relevant passage is as follows:
"A recordings table is ordered by date, therefore the date column should come first (we agree on this). The conductor, orchestra and chorus, etc. are, in most cases, a more valid and significant identifier of the recording, often locating the city of origin, than the cast of singers, and should therefore be the next column of information (this is particularly true of the works for which I created tables). When one wants to specify an opera recording, one speaks of, for example, the "1953 Furtwängler Tristan und Isolde", not the "1953 Flagstad Tristan", or the "1946 Bolshoy Theatre Boris Godunov", not the "1946 Mark Reyzen Boris", unless the context is specifically in reference to the role of Isolde or Boris.
While there are cases where the importance of a particular role and the stature of a particular singer completely eclipse the conductor and orchestra chosen for the recording, more often than not, the combined interpretive contributions of the conductor, orchestra, and chorus constitute the most concise specifier/identifier of the recording, more than any singer or cast. Die-hard opera fanatics may disagree with the above (because "it's all about the singers"), but I don't think we should cater to this minority."
I would also like to make the following points:
![]() | This article is rated Start-class on Wikipedia's
content assessment scale. It is of interest to the following WikiProjects: | |||||||
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Why is this article not called The Marriage (opera)? No one but a Mussorgsky expert or an opera fan fluent in Russian would refer to this work as Zhenitba. I love Russian as much as anybody. But we might as well write it in Cyrillic. We don't have a Sorochinskaya Yarmarka article, nor do we have a Die Zauberflöte article. This clearly more obscure work should not be an exception. I would not support moving Khovanshchina to The Khovansky Affair. That would be asinine. But maintaining the title of this article as Zhenitba seems elitist and ridiculous. I support migrating this article to The Marriage (opera), or, if necessary, The Marriage (Mussorgsky). Ivan Velikii 06:50, 2 September 2006 (UTC)
The format was changed to reflect these guidelines found in all other opera articles. The arbitrary revert has been re-reverted. Do not make any further changes without discussing your reasons here. Viva-Verdi ( talk) 00:39, 7 July 2012 (UTC)
The difference of opinion involves two recordings tables — my original:
Year | Conductor and Orchestra | Cast: (Podkolyosin, Kochkaryov, Fyokla Ivanovna, Stepan) |
Version | Label [1] |
---|---|---|---|---|
1950? | Aleksey Kovalyov USSR State Radio Orchestra |
Daniel Demyanov, Pavel Pontryagin, Anna Matyushina, Georgiy Abramov |
Ippolitov-Ivanov | LP: Melodiya, Cat: D 011919-22; Westminster, Cat: OPW 1202 |
1953 |
René Leibowitz Orchestre Radio-Symphonique de Paris |
Nicholas Agrov, Jean Mollien, Charlotte Desmazures, Aleksandr Popovitsky |
Duhamel | LP: Oceanic, Cat: OCS 36; Olympic, Cat: OL 9105 |
1982 |
Gennady Rozhdestvensky USSR Ministry of Culture Symphony Orchestra |
Vladimir Khrulev, Aleksandr Podbolotor, Lyudmila Kolmakova, Vladimir Ribasenko |
Rozhdestvensky | LP: Melodiya, Cat: A10 00039 007; CD: Olympia, OCD 145 |
.. and the WikiProject Opera sanctioned version:
Year | Cast: (Podkolyosin, Kochkaryov, Fyokla Ivanovna, Stepan) |
Conductor and Orchestra | Version | Label [2] |
---|---|---|---|---|
1950? | Daniel Demyanov, Pavel Pontryagin, Anna Matyushina, Georgiy Abramov |
Aleksey Kovalyov USSR State Radio Orchestra |
Ippolitov-Ivanov | LP: Melodiya, Cat: D 011919-22, Westminster, Cat: OPW 1202 |
1953 | Nicholas Agrov, Jean Mollien, Charlotte Desmazures, Aleksandr Popovitsky |
René Leibowitz Orchestre Radio-Symphonique de Paris |
Duhamel | LP: Oceanic, Cat: OCS 36, Olympic, Cat: OL 9105 |
1982 | Vladimir Khrulev, Aleksandr Podbolotor, Lyudmila Kolmakova, Vladimir Ribasenko |
Gennady Rozhdestvensky USSR Ministry of Culture Symphony Orchestra |
Rozhdestvensky | LP: Melodiya, Cat: A10 00039 007, CD: Olympia, OCD 145 |
My rationale for my version of the recordings table is fully articulated here: User_talk:Viva-Verdi#Mussorgsky opera recordings tables. The most relevant passage is as follows:
"A recordings table is ordered by date, therefore the date column should come first (we agree on this). The conductor, orchestra and chorus, etc. are, in most cases, a more valid and significant identifier of the recording, often locating the city of origin, than the cast of singers, and should therefore be the next column of information (this is particularly true of the works for which I created tables). When one wants to specify an opera recording, one speaks of, for example, the "1953 Furtwängler Tristan und Isolde", not the "1953 Flagstad Tristan", or the "1946 Bolshoy Theatre Boris Godunov", not the "1946 Mark Reyzen Boris", unless the context is specifically in reference to the role of Isolde or Boris.
While there are cases where the importance of a particular role and the stature of a particular singer completely eclipse the conductor and orchestra chosen for the recording, more often than not, the combined interpretive contributions of the conductor, orchestra, and chorus constitute the most concise specifier/identifier of the recording, more than any singer or cast. Die-hard opera fanatics may disagree with the above (because "it's all about the singers"), but I don't think we should cater to this minority."
I would also like to make the following points: