DrG

History of Russian opera

• 1836 A Life for the Tsar
• 1842 Ruslan and Lyudmila
• .
• 1869 Boris Godunov
• 1872 The Stone Guest
• .
• 1879 Eugene Onegin
• 1880 May Night
• 1881 The Maid of Orleans
• 1882 The Snow Maiden
• 1884 Mazeppa
• 1886 The Khovansky Affair
• 1890 Prince Igor
• 1890 The Queen of Spades
• 1892 Iolanthe
• 1898 Sadko
• 1898 Mozart and Salieri
• 1899 The Tsar's Bride
• .
• 1900 The Tale of Tsar Saltan
• 1906 The Miserly Knight
• 1906 Francesca of Rimini
• 1907 The Golden Cockerel
• 1907 The Legend of the Invisible City of Kitezh and the Maiden Fevroniya
• 1913 Sorochintzy Fair
• .
• 1921 The Love for Three Oranges
• 1929 The Gambler
• 1930 The Nose
• 1934 Lady Macbeth of the Mtsensk District
• 1946 War and Peace
• 1946 Betrothal in a Monastery
• 1955 The Fiery Angel

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Vocal register

Actually it is a pretty common assertion. William Vennard, Margaret Greene, and Ralph Appelman, the trinity so to speak of modern vocal pedagogy, all define it in this way. It is also the way in which speech pathologists and voice scientists define vocal registers. I have about a dozen other sources that define it this way, so I wouldn't call it controvercial or fringe by any means. It's also the only approach used across academic disciplines.Nrswanson (talk) 23:34, 29 October 2008 (UTC)

No content in Category:Operas by Enrique Granados

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Did you throw away material or did you replace it in appropriate articles?

When you did your "major reorganization" of the Renaissance music article here did you just throw away information people had contributed for years you didn't find appropriate or did you distribute it in other articles? I don't see any edit summary you did. Contact Basemetal here 07:48, 5 February 2014 (UTC) This was a long time ago, but I believe I didn't throw anything away or move anything. I simply reordered the existing text. DrG (talk)

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