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==L'incoronazione di Poppea - Plot==
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The "morale" of Poppea is the subject of some controversy. There is no consensus about the view stated in this article. The prologue suggests a quite different understanding for example. I'll get back to this, but would love some input and further backing of the current state of the article. ] (]) 00:40, 22 February 2009 (UTC)
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==Article expansion==
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As notified on the opera project talkpage, I have begun work on expanding this article with a view to its joining ''Agrippina'' and ''The Bartered Bride'' as featured opera articles, and also as part of a general effort to raise Monteverdi'd Misplaced Pages profile. To show intent, I have posted an extended synopsis (which may well require further work). I hope that by about the end of this month the article will be sufficiently developed to go for peer review. One area where help would be especially welcomed is that of finding or creating appropriate sound files. ] (]) 16:52, 11 October 2009 (UTC)
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==Recordings==
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Super work, so far, Brian. For the recordings section, in addition to the naked cross-reference to the full discography, I suggest that you present a narrative paragraph summarizing what have been the best received recordings and then giving a selection of the best and most popular ones. Let the reader have the most important information here, and then if they want more, they can click to the more complete article. Best regards, -- ] (]) 18:32, 7 November 2009 (UTC)
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:The problem is that I would have to make personal judgements about what were the "best received" recordings. Can you suggest a way in which such a selection could be made more objectively? ] (]) 19:55, 7 November 2009 (UTC)
{{archives|search=yes}}
::I would normally say go to Radio 3 Building a Library, but I can't see a recommended recording of Poppea there. Going through the Gramophone archive, I can see e.g. ] preferring Harnoncourt to a new recording and other comparisons and "I F" making a similar choice here in 1991. Steans has some interesting views on what can help someoen make sense fo a recordings approach. I thought that Gramophone used to have somewhere on the front page with a recommended recording, but I can't see it on the redesigned site. I don't know whether anyone can suggest other online resources. ] or similar books give ratings to recordings or give a few recommendations.--] (]) 20:53, 7 November 2009 (UTC)
:::Peter, the point isn't that I don't have access to the reviews, I have all the access I need. The difficulty is that per the above I would have to make personal decisions about which reviews to choose, It's like the one-time arguments about "selected recording" sections. Anyway, I've decided what I will do: as you indicate, there will be comparisons between recordings in the Gramophone archive. I will use these as the basis for a ''short'' summary of the leading recordings. I won't be doing this for a few days, though. ] (]) 23:01, 7 November 2009 (UTC)
::::Perhaps you could do a brief paragraph focusing on the recording history (rather than evaluation) which I recently did for ]. The Opera-dis database is invaluable for this (and may also provide a useful reference/external link for the discography page). Here's the page for . Note that the discography also includes "pirates" from broadcast performances but clearly indicates those and as well as those which have been commericially released, and lists the the periodicals in which the recording has been reviewed. If any recording has won a major award, e.g. Grammy, ], ], etc. that could also be mentioned.] (]) 07:58, 8 November 2009 (UTC)
:::::I will work on this. ] (]) 12:02, 8 November 2009 (UTC)

This looks like the right amount of material to me. I leave it to audiophiles here to make any further tweaks. I copied it onto the discography article - I think it's useful to repeat it there, but if you disagree, you can delete or revise. BTW, I wikified the discography article, but I did not bluelink the names of the record labels. Should they be linked? All the best, -- ] (]) 23:17, 9 November 2009 (UTC)

==Carter refs==
Sometimes your Carter refs specify 2002 or 2007, but a few don't say which. -- ] (]) 15:02, 10 November 2009 (UTC)
:Fixed I hope ] (]) 22:12, 10 November 2009 (UTC)


== External links modified ==
==Morality==


Hello fellow Wikipedians,
The reason given for calling POPPEA "immoral"--virtue ends badly and vice, happily--is certainly not true of DON GIOVANNI! And while it happens in DON CARLOS, sort of (it doesn't really end happily for anyone) the music is not happy about it like in POPPEA. I think saying that they are in some kind of tradition together is totally wrong. ] (]) 10:03, 6 December 2009 (UTC)
:Your argument is with Rosand rather than with this article, which is reporting, not endorsing her analysis. ] (]) 12:06, 8 December 2009 (UTC)


I have just modified one external link on ]. Please take a moment to review . If you have any questions, or need the bot to ignore the links, or the page altogether, please visit ] for additional information. I made the following changes:
== "Roles" section and other revisions ==
*Added archive https://web.archive.org/web/20110606124007/http://www.thisislondon.co.uk/music/review-23417309-down-to-her-freudian-slip.do to http://www.thisislondon.co.uk/music/review-23417309-down-to-her-freudian-slip.do


When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.
Hi, I'm new to Misplaced Pages editing and therefore, unreflectingly, revised the article on "L'incoronazione di Poppea" rather substantially without yet having a user name and without categorizing all the changes I made. Sorry for that. However, I am an opera scholar and Monteverdi specialist, and the article struck me as suffering from a number of minor inaccuracies and out-of-date assumptions (concerning dating, sources and other matters), just as it wasn't up-to-date with the most recent research on the field (cf. my revision of the section "Roles", which draws on my own recent article for the Cambridge Opera Journal). I also omitted the section "Historical context", which almost exclusively dealt with Monteverdi's prior life and oeuvre, which seemed to me out of context in an article on an individual opera. I am sorry that my revisions didn't follow standard procedure, but hopefully, if you disagree, you won't simply undo them all under one. <small><span class="autosigned">— Preceding ] comment added by ] (] • ]) 07:53, 9 January 2013 (UTC)</span></small><!-- Template:Unsigned --> <!--Autosigned by SineBot-->¨] (]) 07:56, 9 January 2013 (UTC)
:on one hand it is correct that something as major as the deletion of a whole section needs to be discussed here first; on the other, undoing all the other edits at the same time seems foolhardy IMO. I have reinstated that section, but have not undone the other edits ]-] 10:05, 9 January 2013 (UTC)
Thanks a lot for this - and for your suggestion. I couldn't find out how to reinsert the deleted section without changing the whole, so great that you helped with this: I'm definitely not interested in starting an edit war! :-) ] (]) 10:35, 9 January 2013 (UTC)
::I would keep the "Historical context" section, frankly. I think most readers would find it useful. Flipping back and forth between articles is possible but not always optimal. But as Almost-instinct says, chopping out a massive chunk from a Featured Article which has gone through extensive review and evaluation without any discussion and consensus is not on in the first place. The information on the roles is another matter. These changes/additions may well be a great improvement. I haven't got access to the ''Cambridge Opera Journal'' article but it would be very useful to see what the sources/reasoning are leading to proposing the names of the original cast members and the doubling. The removal of the anachronistic ] term is definitely an improvement. The removal of the entire notes column doesn't seem to be an improvement, unless everything in that column was inaccurate. Can you explain why you removed it wholesale? ] (]) 16:07, 9 January 2013 (UTC)
I admit that the deletion of the "Historical context" section was a mishap: being new to the procedures of Misplaced Pages editing, I didn't realize what it means that an article is featured, and hence it's fine that this section has been restored. I have offered my apologies, and I hope we can leave it at that :-) The "roles" section (and also my expansion of the article on Anna Renzi) is based on my own research, published in the COJ. The full argument is rather too extensive for this context, I think, but I will expand the section somewhat (thanks for pointing that out). Here is why I deleted the notes column, which included the following information: 1) Nerone and Ottone were originally castrato roles (this is now mentioned elsewhere in the section); 2) Amore may be sung by a treble voice (this was originally a castrato role, of which the former editor was probably unaware, and I don't see the point of suggesting here that the role should be sung by a boy: it could equally well be sung by a countertenor or a female soprano, which is more often the case, in fact); 3) the nurses may be performed by male cross-dressers (and so they were in 1643, as I write elsewhere in the section, for which reason this point seems unnecessary); 4) The lines of the Choro di Virtù and Nerone's revellers have not been set to music (this is the only information from the column that perhaps should be included, I think, though perhaps not in the table itself, which will become too messy this way. The thing is that the new table refers directly to the 1643 premiere of the opera - as do most of such tables in the entries to individual operas - whereas the former table referred to modern casting possibilities, probably inspired by Alan Curtis' preface to the score (1989). I suggest, instead, that reference to the non-set roles (and those of the two Amori) is made after the table itself: if you agree, I will insert that). ] (]) 16:50, 9 January 2013 (UTC)


{{sourcecheck|checked=false|needhelp=}}
*'''Note''' - As a courtesy, I have the primary author and FAC nominator of this discussion. --] ] 17:36, 9 January 2013 (UTC)


Cheers.—] <span style="color:green;font-family:Rockwell">(])</span> 05:03, 7 October 2017 (UTC)
:Yes, thanks LB; it would have been nice had Stockholm Opera discussed these edits before making them. However, I am not standing on my dignity. I am always happy when knowledgeable editors improve articles I've worked on, and in this case SO's reasoning looks solid enough, though I have not yet looked at individual edits. I do not claim to be a Monteverdi scholar, though I do have a certain level of knowledge and take considerable care that what I include in an article is in accordance with reliable sources. More recent sources, or a wider range, can of course alter the perspective of an article. I'd be happy for SO to complete his/her work on the roles section; but maybe pause and discuss before tackling other sections? ] (]) 17:42, 9 January 2013 (UTC)


== Editions ==
I apologize, BB, for this, but as I have said above, I have become wiser since I became a Misplaced Pages editor yesterday :-) I have now expanded a little on my introduction to the table in "Roles", as requested by VdT. Please tell me what you think, anyone. If you have reservations or want me to expand further, please let me know. ] (]) 17:51, 9 January 2013 (UTC)


] has twice removed as lacking "high-quality reliable sources", presumably in addition to publisher & date. I doubt many performers will want to ignore it though. ] (]) 21:18, 27 November 2018 (UTC)
::With pre-19th century operas, it's useful to also discuss modern performance practices in casting in the Roles section. Otherwise, readers may get confused and/or make "corrections" based on a recent production they've seen or read about. See the ] in ''The Marriage of Figaro'', for example. If you put it after the role table, people often miss it. ] (]) 18:52, 9 January 2013 (UTC)
: Correct, a link to a commercial store is sufficient for verification that it exists but it is not sufficient to indicate why it's worthy of mention. I believe someone else added additional sourcing. --] ] 21:22, 27 November 2018 (UTC)


== Infobox 2020 ==
'''Some initial thoughts on the table''': I have not seen either of the main sources (Schneider and Ziosi) on which the new table is based, so I am unsure about the level of conjecture rather than established fact. Is there hard ''evidence'', as against theory, that the Venetian premiere employed only 11 singers? Or is this a plausible scenario for what ''might'' have happened? Again, how certain are we that these named singers were associated with these roles – are they conjectural too? Carter (2002) is very circumspect about who may have sung which role, which is why I left names out of the original roles table.


Re {{diff|L'incoronazione di Poppea|965639157|965612211|this revert}}: ], Brianboulton added an infobox to this article, with minimal information ("identibox"). Back then, when infobox opera was new and debated, that was a bold step forward. Today, with the concise infobox being project opera's established feature, present in FAs such as ], ], ], (all by the same author), I see no reason not to have it for this article, planned to be part of a featured project. I believe that Brian would not have objected to listing the librettist, the language, the base for the text, and the premiere information. --] (]) 14:54, 2 July 2020 (UTC)
I am worried that the new table may appear to present information as established fact when it is not. There is a caveat in the preamble which indicates that this is a "suggested reconstruction", but most readers will miss that and take the table as truth. Would it not be better to have a table of roles for the original performance based on what is irrefutable? I'm sure Schneider won't be the last person to present a theory of what could have happened; do we then replace him with the next theory?
:Please don't try to double guess what Brian would or would not have said: it is extremely distasteful for you to try and use his name in this manner. - ] (]) 14:58, 2 July 2020 (UTC)
:I concur with SchroCat. I think it is much better as BB had it, and would vote for its retention without accretions. I too think it rather distasteful of G. Arendt to tell us what BB would have thought: he left no suggestion that he contemplated adding all the extra stuff G. Arendt tried to slip in just now, and indeed he did not do so, wisely, in my view. '''<span style="font-family:Trebuchet MS;">]]</span>''' 15:03, 2 July 2020 (UTC)
:: (ec twice) The addition was not by me (I would not have touched it), but {{diff|L'incoronazione di Poppea|965428487|963283862|added}} by ], in good faith. --] (]) 15:05, 2 July 2020 (UTC)
:::So is not by you? - ] (]) 15:27, 2 July 2020 (UTC)


{{od}}
It is more than three years since I did the main work on this article, so it will take me some time to absorb other significant changes that have been introduced. ] (]) 20:15, 9 January 2013 (UTC)


Let's look at {{diff|L'incoronazione di Poppea|965428487|963283862|the actual additions}}:
PS: there don't appear to be many significant changes to the prose, but I have restored material cut from the lead without any rationale. ] (]) 22:10, 9 January 2013 (UTC)


; {{para|native_name_lang|it}}
First, I absolutely share the view that Misplaced Pages should not be the place for unfounded conjecture or subjective opinion, and that the readers should be able to make up their own mind. Secondly, I think you should read my (Magnus Schneider's) article before passing a final verdict: the argument, which convinced the editor of the COJ sufficiently to have it printed, is 42 pages long and is hard to boil down to a few lines (I will be very happy to send you a copy, if we can find a channel). Thirdly, I think it is possible to accomodate both Brianboulton and me, somehow.
: without {{para|native_name}} this is redundant, but also does nothing.
; {{para|librettist|]}}
BB asks what is fact and what is conjecture. I can understand why you hesitated to reproduce Carter's doubling chart: unlike me, he relies almost exclusively on vocal ranges and tessituras, giving little attention to the historical (archival, performance-practical) context, and hence his doubling chart is, indeed, most conjectural. As for your certainty that I won't be the last person to present a theory of what happened, this is of course true (this is indeed the given condition of all historians!!), and of course the article should be revised again when new documents emerge (this is what's great about Misplaced Pages: that it's so easy to revise!). However, I do beseech you to distinguish between interpretations that are based on the scrupulous unearthing of circumstantial evidence and interpretations that uncritically project modern conceptions and performance-practices onto a 17th opera: surely, the latter will be refuted much faster than the former. Anyway, these are some (and only some!) of the facts that I present in the article:
:The article states that Busenello is the librettist. Is that not so? Is this in dispute? What is the objection to including this particular fact?
; {{para|language|Italian}}
1) Anna Renzi did sing Ottavia, and Anna di Valerio was engaged and offered the role of Poppea, which Busenello had "destined" for her, but no other character in the opera can be definitively tied to a specific performer.
: I would have linked this, as <code><nowiki>]</nowiki></code>, but is the libretto not in Italian? What is the objection to including this particular fact?
; {{para|based_on|Life of ]}}
2) there is no evidence that the production included 11 singers, but we know that di Valerio (soprano), Renzi (soprano), Costa (castrato soprano, singer of serious male leads), Rabacchio (young castrato soprano, excelled in buffoons), Ponzanino (young and untried soprano), Fritellino (voice type not mentioned, but he was apparently to sing one of the two male leads in "La finta savia" and may be identical with "a contralto" mentioned elsewhere), a Roman tenor (described as "very adequate"), Zucchi (a young bass, later a leading performer in Venice), a Florentine bass, and Antonio Agnadini (a third bass, who I think may only have sung in "La finta savia", since the theatre manager accidentally hired too many basses, as he wrote in a letter) were hired for the 1643 carnival at the theatre, and we know from Venetian contracts that singers were employed for the season, not for the individual production. Captain Pompeo Conti was an elderly singer who had sung male leads 20 years ago (probably a tenor; his military rank excludes the possibility that he was a castrato), who still appeared with success at SS Giovanni e Paolo in 1642 and who functioned as talent scout for the 1643 season: we know that he came to Venice in December together with four other singers, and hence he is likely to have sung in the 1643 season, too. These are the singers we know, but at least one more singer (for the nurses) would have been needed to fill the cast, and we know that such a singer had sung at the theatre in 1642: the correspondence only refers to singers who came from outside Venice, and hence the possibility cannot be excluded that more singers were already in Venice.
: This is what the article says. Is it not so? What is the objection to including this particular fact?
; {{para|premiere_date|1643 ] season}}
3) From 17 surviving cast lists covering the period 1637-68 we know that opera productions in Venice included 9-13 singers, including 2-4 women (the first production known to have included more than two women was in 1648 when women on stage had become more common), and we have no reason to believe that "Poppea" was an exception in this regard. Carter's doubling chart presupposes a cast of 13-15 singers (Curtis's, 15 singers).
: Should be marked up as <code><nowiki>{{Start date|1643}}</nowiki></code>, but is this wrong? What is the objection to including this particular fact?
; {{para|premiere_location|], ]}}
4) We have 13 librettos and 5 scores for operas in which Anna Renzi is known to have created a leading role, and in most cases we also know the role she sang. In all her other operas she appeared on stage in about a third of the scenes; Ottavia, who appears in 4 out of 34 scenes, is exactly half the size of her second-smallest part: her debut role. There are other reasons, too (far too many to be enumerated here), why it is highly unlikely that she - the greatest star of the period - would have agreed to appear in such a small and limiting part as Ottavia, which gave her little occasion to show off her most famous skills (contrasting comedy and tragedy, feigning innocence, showing off her command of differing musical styles, exploring the full range of her soprano voice) - unless she doubled in another role. She indeed appeared in such a double role in 1644, though here within the fictional frame of the drama (the lamenting Deidamia disguised as the jolly and amorous Ergindo). Similar arguments can be used with reference to some of the other singers.
: Again, this is supported by the article text. What is the objection to including this particular fact?
I don't expect you to engage in the details of my argument (indeed, I hope you won't before you've read the article), but only to give you an impression of what I mean by the difference between unsubstantiated conjecture/subjective opinion and the sound scholarly interpretation of historical materials, which is what the writing of history is about, after all. By no means should my doubling chart be represented as bare facts, but to withhold from the public (and Misplaced Pages communicates to a broader public than scholarly articles) that Ottavia and Drusilla in all likelihood were conceived as a virtuoso double role for a legendary transformation artist (which alters the meaning and effect of the opera quite fundamentally, drawing it away from the anachronistic concept of "psychological realism" and questioning the universally accepted view of the ending as the "victory of the villains" - not that this needs to be discussed in the article), doesn't seem right either, in my opinion.
In fact, this carries right into the issue raised by Voceditenore: how shall we address the issue of historical performance practice? In modern productions, for example, Ottavia is almost invariably cast as a mezzo and Drusilla as a light soprano, though they have the same range (apart from Ottavia's single low C in I.5), and though we know from other sources that Renzi was certainly no mezzo. My point is that it's impossible to discuss historically informed performance without taking the doubling practice into account. Hence I suggest, as a compromise, that we have two tables: one listing the characters, their voice types (using historically appropriate terms, i.e. no mezzo-sopranos) and perhaps their range, and one reproducing my doubling chart in a slightly revised form: names of the singers, with everyone but Renzi and di Valerio in parenthesis, and the scene numbers. The latter can be introduced with a preamble as Voceditenore suggests, perhaps reproducing some of the arguments presented here, and discussing the 17th-century concept of the operatic voice, which explored the whole range and didn't give a fig about preferred tessitura.
Finally, as for your undoing of some of my edits, I hope you will reconsider the following (in the opening section): 1) when maintaining that "Details of the original cast are few, and largely speculative", you don't take Ziosi's findings into account: though the distribution of roles may correctly be described as largely speculative, it is no longer entirely true that we only have few details about the cast; 2) it is not correct that "there is no record of the opera's initial public reception": one letter (cited by Margaret Murata in 1995) and five poems (the said one in the libretto + 4 in "Le glorie della signora Anna Renzi romana") reflect audience responses to the performances. And in the section "Early Performances": 3) it is known for a fact that the opera premiered in 1643 and not 1642: the Bentivoglio correspondence shows clearly that Poppea came after La finta savia and hence premiered late in the Carnival (see Whenham 2004); 4) the scenario does give the year of the premiere (1643), though not the date; 5) while it is true that Naples 1651 is the only known revival of the opera, it might be worth mentioning the very possible revival at the SS. Giovanni e Paolo in 1646 (see Whenham 2004 again), and the planned production in Paris 1647, which may or may not have taken place. Over and out! ] (]) 01:24, 10 January 2013 (UTC)


Finally, Gerda also made "National Roman Museum" in the image caption into a link. Why is this objectionable?
::Thank you for the detailed explanation. I still have a basic problem with the revised table: I accept that it is a scholarly summary of what might have transpired at the first performance of Poppea in terms of who may have sung what, but the general Misplaced Pages reader will expect to see a much simpler "list" of roles", as in common in all opera articles. That information is lacking from the article at the moment.
::Possible solutions
::* Two tables? I think absolutely not; danger of further overcomplication
::* Revise format of existing table so that it can perform a dual role. I would like to investigate this further
::* Restore the former "list of roles" table, and add brief explanatory text with appropriate references relating to the projected distribution of forces at the premiere. I rather like this idea, as the roles table would be unchanged over a period of time, while the text can be amended in the light of future scholarly research. But the text would need to be within certain limits, to avoid unbalancing the article.
::* Restore the former table, and delegate the specific issue of roles distibution, speculative or otherwise, to a subarticle linked to the main text. This would have the advantage of allowing the theories of Schneider, Ziosi and others to be more fully explored, without unbalancing the main article. Worth considering.
::Finally, I restored the original lead text only until we have resolved the treatment of his issue, at which point it can be appropriately reworded. ] (]) 11:21, 10 January 2013 (UTC)


I look forward to understanding why each of these specific facts are not individually and separately deemed relevant for inclusion in the infobox. <span class="vcard"><span class="fn">]</span> (<span class="nickname">Pigsonthewing</span>); ]; ]</span> 15:43, 2 July 2020 (UTC)
Thank you for these constructive suggestions. You are probably right that two tables would be too confusing, and I also see and agree with your point that the readers will need a list of roles similar to the one in the earlier table (and this should also include, at least, the Amori). May I suggest a combination of some of your proposals: the section "Early Performances" is moved to an earlier place in the article so that it immediately precedes the "Roles" section; it is revised and expanded to include some of the results of Ziosi's and my research on the original cast, roughly corresponding to my above comments, i.e.: presenting the singers who with some degree of certainty sang in the production, without conjecturing what roles they might have sung, but introducing such performance-practical issues as the average number of singers and women in a production, company hierarchy and the doubling convention. This section could then also expand more on Anna Renzi's performance profile (cf. my Misplaced Pages article on her). Then follows the "Roles" section, which - from left to right - lists: 1) name and description of character; 2) voice type (+ range?); 3) scenes in which the character appears; 4) hypothetical casting, the preamble making clear that this ''is'' a hypothesis. For the sake of clarity, I suggest that the vertical ordering of the characters in my table is retained, i.e. starting with the female soprano roles and ending with the bass roles and finally with the characters that didn't appear in 1643 at all. ] (]) 12:11, 10 January 2013 (UTC)
:If you can assemble a consensus for a change, it will naturally be respected by all. '''<span style="font-family:Trebuchet MS;">]]</span>''' 15:47, 2 July 2020 (UTC)
:: Would you care to answer my questions? <span class="vcard"><span class="fn">]</span> (<span class="nickname">Pigsonthewing</span>); ]; ]</span> 15:50, 2 July 2020 (UTC)
:::They are straw men, a pointless discussion: as there is no consensus to change the long-standing ], it's a bit cart-before-the-horse to discuss the provisional factoids for inclusion. You may as well ask if Liverpool are Premier League champions: it's a valid question ''somewhere'', and has some veracity to it, but it doesn't make a tiny difference as to whether there should be an IB on this page or not. The starting point is whether an IB should be included in the first place, not 20 questions on the first performance - ] (]) 15:54, 2 July 2020 (UTC)
::::To Pigs's last question: Not in the least. Turning your assumptions into questions is a familiar rhetorical device, but no reply seems called for. But let us see if other people agree with you. '''<span style="font-family:Trebuchet MS;">]]</span>''' 15:57, 2 July 2020 (UTC)


As Andy I am sure may recall, the institution of infoboxes in an article requires discussion on the talk page. I am not aware that any such discussions took place here. Communion with the deceased, however greatly their work while living is prized (and few admire the legacy of Brianboulton more than I), is not a substitute for this.] (]) 16:02, 2 July 2020 (UTC)
:That sounds promising. Could you mock up your proposed revised table in a sandbox so that I and others can view it and sort out any pesentation difficulties? We can settle on questions of explanatory text a little later. ] (]) 15:52, 10 January 2013 (UTC)
:I recall - as the evidence, some of it just a few lines above Smerus's comment, confirms - that the institution of an infoboxes in ''this'' article was discused on ''this'' talk page in 2014; and that as a result of that discussion an infobox has been on the article ever since. HTH. <span class="vcard"><span class="fn">]</span> (<span class="nickname">Pigsonthewing</span>); ]; ]</span> 20:52, 2 July 2020 (UTC)
<hr />
::{{ping|Smerus|Tim riley|Pigsonthewing|Gerda Arendt|Nikkimaria|SchroCat}} Please take a moment to read this and vote below.


::I refuse to take a side on this asinine argument. You know, I came to Misplaced Pages after hearing the ] recording of the first act of ], after being brought to tears by its power and emotion. Other composers had moved me in similar ways, but nothing like this, so naturally I wanted to learn more about ]. What I discovered was far more than I expected, a vast variety of impressive, informative and enjoyable articles. I thought to myself 'who spends all their time writing these?' and discovered all of you, tireless contributors. In a world of constant suffering and strife, it was nice to find a refuge or people dedicated to accessible and thorough information. However, when I stumbled across these endless fights over infoboxes, I immediately lost all respect for these people ] ] ] ] ]. I don't care how "delicate" or "sensitive" of an issue it is, all I saw and still see was both side continuously being uncivil with the "pro-infobox" individuals consistently baiting and inciting conflict and the "anti-infox" people bullying the other side into submission. Whatever, I thought if I stuck around I would find humaness in this chaos, and I did. I had interactions with many people in this conflict and was surprised to see how helpful and patient they are, completely contradictory how they acted on these matters. And then I saw this thing called "]" and immediately recognized the fabulous work of Brian Boulton on Monteverdi's Operas as a possible candidate, so worked with {{u|Gerda Arendt}} to create a ] to tie them all together. I then went through the criteria and the articles and tried to line them up better, slightly changing headings between articles or slightly altering the links. I discovered the half of the articles were referenced differently than the other half, and the half that did not use the "sfn" templates were fairly disorganized, having years for half the authors and not the other half –&nbsp;so I went through the articles and made them all sfn while fixing the refs. I then saw under the "recommendations" of the criteria there was "The articles use a common infobox where appropriate." Every Monteverdi Opera article used a similar box except Poppea, and after reading through the talk page where I saw that the current one was part of a trial from '''7 years ago''' that only '''one person commented on''', I assumed the trial was over and the article should be adjusted to fit the others. But after the reversion of my edits I consequently begun the 2020 segment of the infobox hostility, where no one tries to compromise and everyone tries to push their agenda. No one here should be trying to interpret the wishes of someone is deceased, that much is clear. While it's not "required" in the guidelines that you all endlessly cite to each other, there's something called "common sense" for a typical reader and a typical featured topic that would expect all of these articles in a proposed featured topic to share a similar format in regard to infoboxes: Whether that be the current "identibox", the currently unused ] or the infobox used on the other Monteverdi opera articles at the moment. I propose that in this matter we vote for a consensus between the use of these three options so that we can all go back to making meaningful contributions and perhaps the featured topic can be nominated in time for Brian's birthday on the 4th. ] (]) 21:09, 2 July 2020 (UTC)
I will do so, but I will first have to learn how to use the sandbox: I just lost an hour's work because I wasn't able to save the table I had worked out, and I may not find the time to recreate it for the next few days. If you want to revert to the previous table in the article until we are ready to revise the section, it's therefore fine with me. ] (]) 08:19, 11 January 2013 (UTC)
:Take your time. I have tweaked the table in the article, merely swapping the column order of singer and role, so that it now resembles a roles table. If you get a chance, see what you think; possibly no futher change required? We will need to give further attention to the text, so give me a message on my talkpage, ], when you've given further thought. ] (]) 16:27, 11 January 2013 (UTC)


* {{u|Aza24}}, just a couple of little pointers, if I may. 1. "Votes" don't count (please see ] for the full explanation, but in a nutshell, people who come to discussions like this and say "I support Option A" don't get counted. We have discussions to bring about a new ] on matters. At the moment the ] is the consensus, and it needs to be argued for and against to provide a new consensus (the links on consensus and vote give more information). You may think this long-winded and lacking in common sense, but there is rationale and sense behind it, and ensures that things that are "good" don't just get washed away. 2. It's not an asinine argument. There are good reasons and good logic to ''both'' positions, which is exactly why there isn't a clear "winner" who has swept the board, and why there are differences in what appear to be similar types of articles. 3. Please don't dismiss the thoughts of either side as you have done above: it starts the conversation off on a bad footing and increases the chances that people will continue down the path you have laid and be more uncivil than they may have otherwise neen. (I am in a very civil conversation with someone about an IB with everyone behaving very politely to one another at the moment, and I only wish they could all be like that). - ] (]) 21:24, 2 July 2020 (UTC)
Thanks for this. Ponzanino and Fritellino need to be reversed like the others. In view of your reservations above about presenting this cast list as established fact (which it isn't in all the cases), perhaps it would be better to 1) place the column with the singers to the far right, and 2) make individual rows for each of the characters, which will also make it graphically clearer, especially if people look at the table on a small screen. Arguably, the characters could then also be listed according to their importance in the opera, and not according to their voice type. Later, I will write an introduction to the table as I suggested above, in a sandbox. What do you think? ] (]) 15:05, 22 January 2013 (UTC)
:I can't clearly visualise the table you have in mind, and need to see it. I suggest you work it up in a sandbox and we can look at it. If you need to contact me, I suggest you use ] as I am not watching the article talkpage all the time. ] (]) 22:30, 23 January 2013 (UTC)


::{{re|SchroCat}} with all due respect, I am familiar with ], however, a "discussion and debate" has been going on for more than 10 years. The discussion here that has arisen and will continue to arise is hardly a discussion and more of various subtle attacks. If you truly wish to cite "policies" I would respectfully remind you of ] that states "''Being too wrapped up in rules can cause loss of perspective, so there are times when it is better to ignore a rule. Even if a contribution "violates" the precise wording of a rule, it might still be a good contribution''." I hope you understand how this is an easy solution that '''only addresses''' to use of infoboxes in Monteverdi Opera articles and I would invite you to vote below. ] (]) 21:34, 2 July 2020 (UTC)
== Infobox ==
:::No. I will not vote: as I have explained to you, voting is meaningless, as I have already shown. We do not throw out all our guidelines just because one user wants to do something a certain way. If you want to bring about a change to this article that has been challenged, you have to go through the process. The process is there to stop a kangeroo court approach such as this, and changes will not - cannot - be justified by ignoring the standing consensus. IAR is sometime a good rule, but when people try to use it to ride roughshod over the well-held and structured arguements of either side, it is a millstone. This cuts both ways, or I could start a vote to remove IBs I just don't like, and people would be (quite rightly) up in arms about it. - ] (]) 21:49, 2 July 2020 (UTC)
:::It's the wrong question though, or at least the wrong rationale for asking. The featured topic criteria require that the articles use a common infobox, and they do: they all use {{tl|infobox opera}}. The criteria do ''not'' dictate that the same parameters be used in each article - there's nothing preventing one from using fewer, or for that matter more. If you're of the opinion that this article should use more parameters for reasons entirely unrelated to the proposed featured topic nomination, great, have that discussion. But don't make it about the FT, and don't make the FT contingent on agreeing here on a single parameter set for all of them. At the moment you've set up an all-or-nothing discussion that makes it (IMO) less possible to compromise on anything, for either "side". ] (]) 21:54, 2 July 2020 (UTC)
::::{{re|SchroCat|Nikkimaria}} Sigh –&nbsp;fine then. It doesn't have to be about it being part of the ] criteria, it can be about the fact that there is no reason in existence why one Monteverdi article would be different than another in this respect. Once again, I don't care what the result is, but one of the three options should be chosen, at the very least so the Monteverdi template can be deleted if not used. You all cite rules that have never resulting in any meaningful compromise in this case and then say that not abiding them would be a bad idea. I tried to propose an easy way out but it seems that no one wants a way out in the first place, so please argue about this until it quites down in a couple of weeks so then I can finally nominate the topic. - ] (]) 22:05, 2 July 2020 (UTC)
:::::Look, I get that you're frustrated, but you're blocking off possible avenues for compromise by saying that the end result has to be one of the three options below. It doesn't. There is no reason in existence why the articles need to be identical, and we shouldn't be having a vote here about making them all either what's here or what's there. ] (]) 22:10, 2 July 2020 (UTC)
::::::No, you're right, I recognize that common sense doesn't have a place here on Misplaced Pages. Just let me know when this discussion is over so I can nominate a featured topic that was supposed to have been nominated yesterday and be reflective of Brian's legacy, not the legacy of an infobox debate. ] (]) 22:21, 2 July 2020 (UTC)
:::::::Here's a common-sense answer for you: nominate it whenever you like. It's not contingent on this discussion. ] (]) 22:26, 2 July 2020 (UTC)
:::::::: <s>'legacy of an infobox debate'</s> .. 'pouring petrol onto the embers of the infobox wars' .. there, fixed that for you. ] (]) 13:06, 4 July 2020 (UTC)
I find Nikkimaria's argument convincing that the Featured topics criteria don't ask for the same ''parameters'' to be filled. It's fine ''then'' to leave the article as it was. Sorry that my premises were wrong, and the emotions that caused. --] (]) 07:16, 3 July 2020 (UTC)
===Update===
Thanks to {{u|Nikkimaria}} and {{u|SchroCat}} for their respectful discussion with me. As Nikkimaria pointed out, the current status does not actually impede a featured topic nomination, so I have begun the nomination and anyone who wants to can discuss it ]. Apologies if I overreacted, a frustrating situation at first but not seemingly pertinent to the Featured topic in the first place. ] (]) 01:43, 4 July 2020 (UTC)


==Footnotes==
An infobox has been (re)added to this article, with the claim that if one person agrees it constitutes a discussion. As this is a FA, it would be more appropriate to have an actual discussion. The infobox "summarizes" the first sentence of the article; I would suggest removing it, and restoring the more useful navbox providing navigation to other Monteverdi works. ] (]) 12:48, 20 June 2013 (UTC)
While fixing some lint errors and ] formatting, it struck me as odd and not consistent with other opera articles that the Italian incipits are given in footnotes and not inline. I suggest to incorporate them into the narration. E.g.
:Just pointing out that the article already has a footer navbox linking to all of the articles on Monteverdi's operas, as well as those on his other works, so another one at the top is actually redundant. Incidentally, I merely edited the contents of the infobox placed by another editor. I personally don't care one way or another, but as this is a Featured Article, I'd be inclined to go along with the preferences of those who brought it to FA status. So far they haven't expressed any. ] (]) 13:07, 20 June 2013 (UTC)
:{{tq|… who claims greater power than either: "I tell the virtues what to do, I govern the fortunes of men."{{refn|''Io le virtuti insegno, io le fortune domo''|group=n}}}}
:: An infobox has been added to the article, by me, being bold, after project opera offered the option. It was reverted by ] without a discussion. I discussed on her talk page that I would accept the revert of a main author to the article. I like the infobox much better than the redundant navbox, but am out of this, --] (]) 17:15, 20 June 2013 (UTC)
{{Fake heading|Notes|level=3}}
:::I invited you to discuss; you re-added instead. But when making such a change, to an FA, in an area that you know to have been previously contentious, caution is more prudent than boldness. ] (]) 17:39, 20 June 2013 (UTC)
{{Reflist|group=n}}
::::Replied your talk, because it has nothing to do with this specific work. - The area of infoboxes for operas (!) has not been contentious, to my knowledge. --] (]) 12:21, 21 June 2013 (UTC)
do this instead:
:::::]: an infobox here could indeed be regarded as contentious. I'm speaking from personal experience. If you look at the edit history, you'll see I removed one from this article in 2006! So I think it would be better if you asked the other editors before adding boxes. I wouldn't characterise your actions as ] attacks but they are gradually approaching that. How about relaxing a little and stop provoking these situations? --'']]'' 14:01, 21 June 2013 (UTC)
:{{tq|… who claims greater power than either: "I tell the virtues what to do, I govern the fortunes of men" ("Io le virtuti insegno, io le fortune domo")}}
::::::As my personal experience doesn't go back to 2006, I suggest to relax a bit, look at the recent consensus found in project opera for an optional infobox in operas, and at the future. Do you seriously suggest that I ask every editor of the estimated 1000 opera articles before suggesting an improvement? I have a simple 1RR rule outlined above, 1RR with the Main author whose importance has been stressed so much in recent discussions.
Further, I recommend that the existing short citations be standardised with {{t|sfn}} or {{t|sfnp}}; at the moment, most short citations use just the author's name, others use the year (the recommended method), others use author + (short title), sometimes for the same author (Rosand), which makes finding the cited source unnecessarily cumbersome. I'm aware that ] has been interpreted as requiring consensus for such a change. So, is there any appetite for such (IMO modest) change? -- ] (]) 04:59, 13 October 2023 (UTC)
::Looking at the handful of FAs about operas I don't think there is in practice a norm for translating incipits (a word I didn't know and am glad to learn). Of FAs about operas in languages other than English, '']'' doesn't translate them at all, by and large; '']'' gives them in English and not in the original in the main text (with a table later on giving both); '']'' gives the French titles with no English translations; '']'' gives the Italian and then the English inline; '']'' likewise (though differently punctuated from ''Falstaff's''); '']'', like ''The Bartered Bride'' gives them in English and not in the original in the main text with a table later on giving both; ditto for the article under consideration here, ''L'incoronazione di Poppea''; '']'' sticks to English, though there is, perhaps strangely, a separate article on the various numbers, giving both Italian and English); '']'' gives French only; '']'' follows the set-up for ''The Bartered Bride'' and ''Il ritorno d'Ulisse in patri''; '']'' sticks to Italian only, in general; and '']'' gives Italian titles with English in brackets. A logical case could be made for rationalising all the above, though it would require a huge (and to my mind disproportionate) effort, and I suggest any proposal to do so ought to be floated at the project talk pages for opera and classical music.


::The principal author of the article (and of all but three of the above-mentioned FAs), the greatly missed ], died nearly four years ago. Speaking as one of several editors who keep an eye on the articles BB took to FA – more than 100 of them – I think he would have welcomed the above suggestion for the referencing. I don't use the sfn system myself, and rather dislike it, but in his later FACs BB adopted it. <s>(Is it correct, though, to call it "the recommended method"? Recommended by whom, where?)</s> But as the proposal has implications for other articles it might be as well to raise the suggestion on the two project talk pages as well. '''<span style="font-family:Trebuchet MS;">]]</span>''' 08:49, 13 October 2023 (UTC)
::::::Back to this article: can we speak about content of the , by which I replaced the navbox for this opera, a navbox which is duplicated at the bottom of the article and thus of limited value for the reader? --] (]) 14:23, 21 June 2013 (UTC)
: Thank you, Michael, for bringing it up here. I also found the great BB open to changes serving readers and editors. I think you can go ahead and make the changes for this article, and take from there if others should follow. As nice as consistency across articles is, it has never worked well for Misplaced Pages, and is no goal I pursue. Consistency within one article seems a better idea.
:::::::In answer to your first question: you should suggest what you believe to be an improvement before implementing it. Your second: I would support removing the navbox from the bottom if needed, but your proposed infobox duplicates what is right next to it and is thus of even more limited value for the reader. ] (]) 14:41, 21 June 2013 (UTC)
::::::::I am here for project opera. From your answers I deduct that you did not follow the project's intentions in creating the template. Be so kind, do so now, {{tl|infobox opera}}, general questions should be raised there. It's in its beginning, feedback is welcome, feedback from readers would also be welcome, readers who probably don't study suggestions on talk pages. --] (]) 14:55, 21 June 2013 (UTC) : I support both sfn referencing, and having the Italian seen right next to the translation, without awkward going back and forth. This may be different for Smetana, because fewer readers will profit from Czech than Italian, Italian being what you now will ''hear'' in opera houses and on recordings. Italian with English in brackets may be preferable for ''this'' opera. --] (]) 09:09, 13 October 2023 (UTC)
::I prefer including the incipt translations in line rather than in a footnote or table. I do think this would be nice to standardize across the FAs, but only after a discussion at the opera project, and no one may be willing to go through all of them all to do it, since there's nothing actually wrong with any of them. As for the short cites, you only need to include the year when there are two or more books by the same author. I do not see any reason to convert the refs to sfn or other templates, because manual short cites and are much easier for tech dummes like me to use. -- ] (]) 16:50, 13 October 2023 (UTC)
:::::::::The project did not create the template. ] (]) 15:15, 21 June 2013 (UTC)
:::So I take it that incorporating the Italian incipits into the article is not controversial now. Although I think that they should normally not be in italics, to cause the least disruption to the format here, I suggest: {{tq|… who claims greater power than either: "I tell the virtues what to do, I govern the fortunes of men" ({{lang|it|Io le virtuti insegno, io le fortune domo}}).}} (Note that I moved the full stop to the end, outside the quotation marks.) Bar any objections, I will change the article accordingly in the next 2 days.
* I '''support''' the restoration the ], and similar other opera pages that seem to have been changed by one editor. See --] (]) 08:55, 8 July 2013 (UTC)
::::As I say above, as this has implications for a whole range of articles I don't think you should do anything without establishing a consensus on the Opera and Classical Music project pages. '''<span style="font-family:Trebuchet MS;">]]</span>''' 12:23, 15 October 2023 (UTC)
:::As for the format of ]: Most scholarly works and most Misplaced Pages articles use the author-date style. This article uses the date part only when necessary, and sometimes uses an author + (short title) format. I think such a mixture is unfortunate and possibly confusing. The aim of citations is to let readers look at the sources. This would be much easier if the text "Carter (2002), pp. 1–2" were a clickable link to Carter's work. This can be done with <code><nowiki>{{sfnp|Carter|2002|pp=1–2}}</nowiki></code> which doesn't seem to require much technical knowledge. However, the template(s) {{tlf|sfn(p)}} &c {{em|can}} be used to retain the style as it exists here now. Thoughts? -- ] (]) 03:20, 15 October 2023 (UTC)
::::The restriction of the dates to two or more works by the same author makes it clearer and so easier for the reader, I find. The clickable link is no real use unless it opens the actual source rather than merely its biobliographical details. I think you should seek a wider consensus, as above, if trying to establish a new norm and changing WP policies. '''<span style="font-family:Trebuchet MS;">]]</span>''' 12:23, 15 October 2023 (UTC)
:::::], 2 responses: a) Incipits: As you observed, there's no unified style for these now, and I'm convinced that a discussion at ] won't result in consensus for one. Articles have grown in different ways, and there is no compelling format either way. However, the format in {{em|this}} article is particularly unhelpful; 2 editors agree with that. b) Shortened footnotes format: Only inline citations provide 1-click access to a source. They are impractical if many different pages of a work are cited. {{tlf|sfn}}-templated citations at least spare the reader from having to locate the cited source in the bibliography. Again, I don't think the Opera Project will come to a consensus on the preferred method, nor should it. I'm just suggesting how {{em|this}} article could be improved. -- ] (]) 13:06, 15 October 2023 (UTC)
::::::Well, as I say, the BB of his later years would agree with you about the sfn system. He and I had some amicable arm-wrestling and a certain amount of mutual tooth-baring in some of our joint FAC overhauls as to the formatting (as well as to the pruning of each other's prose). E.g. he won ''chez'' ], and I won ''chez'' ] and ]. I find the same with ] with whom I have collaborated on even more articles than I did with Brian. In our present enterprise SC has courteously followed my lead, and in others I have followed his. Though I'm fully aware of ] I can't help regarding some of BB's successful FACs as "his" and I try to imagine what he would say when presented with questions such as the one before us. I think he would approve of your suggestion about sfn'ing things, as long as you don't bag it as a precedent and try to impose it on other FAs by, e.g., ''me''. But as to the incipits (how one loves to play with a newly found word!) I remain of the view that without a project-wide consensus we should refrain from substantially changing the layout agreed at FAC. '''<span style="font-family:Trebuchet MS;">]]</span>''' 14:03, 15 October 2023 (UTC)

Latest revision as of 00:02, 6 February 2024

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Featured articleL'incoronazione di Poppea is a featured article; it (or a previous version of it) has been identified as one of the best articles produced by the Misplaced Pages community. Even so, if you can update or improve it, please do so.
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Editions

User:Laser brain has twice removed a 2017 Barenreiter edition by Hendrik Schulze as lacking "high-quality reliable sources", presumably in addition to publisher & date. I doubt many performers will want to ignore it though. Sparafucil (talk) 21:18, 27 November 2018 (UTC)

Correct, a link to a commercial store is sufficient for verification that it exists but it is not sufficient to indicate why it's worthy of mention. I believe someone else added additional sourcing. --Laser brain (talk) 21:22, 27 November 2018 (UTC)

Infobox 2020

Re this revert: in 2014, Brianboulton added an infobox to this article, with minimal information ("identibox"). Back then, when infobox opera was new and debated, that was a bold step forward. Today, with the concise infobox being project opera's established feature, present in FAs such as Carmen, The Bartered Bride, L'Orfeo, (all by the same author), I see no reason not to have it for this article, planned to be part of a featured project. I believe that Brian would not have objected to listing the librettist, the language, the base for the text, and the premiere information. --Gerda Arendt (talk) 14:54, 2 July 2020 (UTC)

Please don't try to double guess what Brian would or would not have said: it is extremely distasteful for you to try and use his name in this manner. - SchroCat (talk) 14:58, 2 July 2020 (UTC)
I concur with SchroCat. I think it is much better as BB had it, and would vote for its retention without accretions. I too think it rather distasteful of G. Arendt to tell us what BB would have thought: he left no suggestion that he contemplated adding all the extra stuff G. Arendt tried to slip in just now, and indeed he did not do so, wisely, in my view. Tim riley talk 15:03, 2 July 2020 (UTC)
(ec twice) The addition was not by me (I would not have touched it), but added by Aza24, in good faith. --Gerda Arendt (talk) 15:05, 2 July 2020 (UTC)
So this is not by you? - SchroCat (talk) 15:27, 2 July 2020 (UTC)

Let's look at the actual additions:

|native_name_lang=it
without |native_name= this is redundant, but also does nothing.
|librettist=Giovanni Francesco Busenello
The article states that Busenello is the librettist. Is that not so? Is this in dispute? What is the objection to including this particular fact?
|language=Italian
I would have linked this, as ], but is the libretto not in Italian? What is the objection to including this particular fact?
|based_on=Life of Poppaea Sabina
This is what the article says. Is it not so? What is the objection to including this particular fact?
|premiere_date=1643 Carnival season
Should be marked up as {{Start date|1643}}, but is this wrong? What is the objection to including this particular fact?
|premiere_location=Teatro Santi Giovanni e Paolo, Venice
Again, this is supported by the article text. What is the objection to including this particular fact?

Finally, Gerda also made "National Roman Museum" in the image caption into a link. Why is this objectionable?

I look forward to understanding why each of these specific facts are not individually and separately deemed relevant for inclusion in the infobox. Andy Mabbett (Pigsonthewing); Talk to Andy; Andy's edits 15:43, 2 July 2020 (UTC)

If you can assemble a consensus for a change, it will naturally be respected by all. Tim riley talk 15:47, 2 July 2020 (UTC)
Would you care to answer my questions? Andy Mabbett (Pigsonthewing); Talk to Andy; Andy's edits 15:50, 2 July 2020 (UTC)
They are straw men, a pointless discussion: as there is no consensus to change the long-standing status quo, it's a bit cart-before-the-horse to discuss the provisional factoids for inclusion. You may as well ask if Liverpool are Premier League champions: it's a valid question somewhere, and has some veracity to it, but it doesn't make a tiny difference as to whether there should be an IB on this page or not. The starting point is whether an IB should be included in the first place, not 20 questions on the first performance - SchroCat (talk) 15:54, 2 July 2020 (UTC)
To Pigs's last question: Not in the least. Turning your assumptions into questions is a familiar rhetorical device, but no reply seems called for. But let us see if other people agree with you. Tim riley talk 15:57, 2 July 2020 (UTC)

As Andy I am sure may recall, the institution of infoboxes in an article requires discussion on the talk page. I am not aware that any such discussions took place here. Communion with the deceased, however greatly their work while living is prized (and few admire the legacy of Brianboulton more than I), is not a substitute for this.Smerus (talk) 16:02, 2 July 2020 (UTC)

I recall - as the evidence, some of it just a few lines above Smerus's comment, confirms - that the institution of an infoboxes in this article was discused on this talk page in 2014; and that as a result of that discussion an infobox has been on the article ever since. HTH. Andy Mabbett (Pigsonthewing); Talk to Andy; Andy's edits 20:52, 2 July 2020 (UTC)

@Smerus, Tim riley, Pigsonthewing, Gerda Arendt, Nikkimaria, and SchroCat: Please take a moment to read this and vote below.
I refuse to take a side on this asinine argument. You know, I came to Misplaced Pages after hearing the Solti's recording of the first act of Die Walküre, after being brought to tears by its power and emotion. Other composers had moved me in similar ways, but nothing like this, so naturally I wanted to learn more about Wagner. What I discovered was far more than I expected, a vast variety of impressive, informative and enjoyable articles. I thought to myself 'who spends all their time writing these?' and discovered all of you, tireless contributors. In a world of constant suffering and strife, it was nice to find a refuge or people dedicated to accessible and thorough information. However, when I stumbled across these endless fights over infoboxes, I immediately lost all respect for these people who do such amazing work. I don't care how "delicate" or "sensitive" of an issue it is, all I saw and still see was both side continuously being uncivil with the "pro-infobox" individuals consistently baiting and inciting conflict and the "anti-infox" people bullying the other side into submission. Whatever, I thought if I stuck around I would find humaness in this chaos, and I did. I had interactions with many people in this conflict and was surprised to see how helpful and patient they are, completely contradictory how they acted on these matters. And then I saw this thing called "featured topics" and immediately recognized the fabulous work of Brian Boulton on Monteverdi's Operas as a possible candidate, so worked with Gerda Arendt to create a list to tie them all together. I then went through the criteria and the articles and tried to line them up better, slightly changing headings between articles or slightly altering the links. I discovered the half of the articles were referenced differently than the other half, and the half that did not use the "sfn" templates were fairly disorganized, having years for half the authors and not the other half – so I went through the articles and made them all sfn while fixing the refs. I then saw under the "recommendations" of the criteria there was "The articles use a common infobox where appropriate." Every Monteverdi Opera article used a similar box except Poppea, and after reading through the talk page where I saw that the current one was part of a trial from 7 years ago that only one person commented on, I assumed the trial was over and the article should be adjusted to fit the others. But after the reversion of my edits I consequently begun the 2020 segment of the infobox hostility, where no one tries to compromise and everyone tries to push their agenda. No one here should be trying to interpret the wishes of someone is deceased, that much is clear. While it's not "required" in the guidelines that you all endlessly cite to each other, there's something called "common sense" for a typical reader and a typical featured topic that would expect all of these articles in a proposed featured topic to share a similar format in regard to infoboxes: Whether that be the current "identibox", the currently unused Monteverdi template or the infobox used on the other Monteverdi opera articles at the moment. I propose that in this matter we vote for a consensus between the use of these three options so that we can all go back to making meaningful contributions and perhaps the featured topic can be nominated in time for Brian's birthday on the 4th. Aza24 (talk) 21:09, 2 July 2020 (UTC)
  • Aza24, just a couple of little pointers, if I may. 1. "Votes" don't count (please see WP:VOTE for the full explanation, but in a nutshell, people who come to discussions like this and say "I support Option A" don't get counted. We have discussions to bring about a new WP:consensus on matters. At the moment the WP:STATUS QUO is the consensus, and it needs to be argued for and against to provide a new consensus (the links on consensus and vote give more information). You may think this long-winded and lacking in common sense, but there is rationale and sense behind it, and ensures that things that are "good" don't just get washed away. 2. It's not an asinine argument. There are good reasons and good logic to both positions, which is exactly why there isn't a clear "winner" who has swept the board, and why there are differences in what appear to be similar types of articles. 3. Please don't dismiss the thoughts of either side as you have done above: it starts the conversation off on a bad footing and increases the chances that people will continue down the path you have laid and be more uncivil than they may have otherwise neen. (I am in a very civil conversation with someone about an IB with everyone behaving very politely to one another at the moment, and I only wish they could all be like that). - SchroCat (talk) 21:24, 2 July 2020 (UTC)
@SchroCat: with all due respect, I am familiar with WP:VOTE, however, a "discussion and debate" has been going on for more than 10 years. The discussion here that has arisen and will continue to arise is hardly a discussion and more of various subtle attacks. If you truly wish to cite "policies" I would respectfully remind you of WP:COMMONSENSE that states "Being too wrapped up in rules can cause loss of perspective, so there are times when it is better to ignore a rule. Even if a contribution "violates" the precise wording of a rule, it might still be a good contribution." I hope you understand how this is an easy solution that only addresses to use of infoboxes in Monteverdi Opera articles and I would invite you to vote below. Aza24 (talk) 21:34, 2 July 2020 (UTC)
No. I will not vote: as I have explained to you, voting is meaningless, as I have already shown. We do not throw out all our guidelines just because one user wants to do something a certain way. If you want to bring about a change to this article that has been challenged, you have to go through the process. The process is there to stop a kangeroo court approach such as this, and changes will not - cannot - be justified by ignoring the standing consensus. IAR is sometime a good rule, but when people try to use it to ride roughshod over the well-held and structured arguements of either side, it is a millstone. This cuts both ways, or I could start a vote to remove IBs I just don't like, and people would be (quite rightly) up in arms about it. - SchroCat (talk) 21:49, 2 July 2020 (UTC)
It's the wrong question though, or at least the wrong rationale for asking. The featured topic criteria require that the articles use a common infobox, and they do: they all use {{infobox opera}}. The criteria do not dictate that the same parameters be used in each article - there's nothing preventing one from using fewer, or for that matter more. If you're of the opinion that this article should use more parameters for reasons entirely unrelated to the proposed featured topic nomination, great, have that discussion. But don't make it about the FT, and don't make the FT contingent on agreeing here on a single parameter set for all of them. At the moment you've set up an all-or-nothing discussion that makes it (IMO) less possible to compromise on anything, for either "side". Nikkimaria (talk) 21:54, 2 July 2020 (UTC)
@SchroCat and Nikkimaria: Sigh – fine then. It doesn't have to be about it being part of the featured topic criteria, it can be about the fact that there is no reason in existence why one Monteverdi article would be different than another in this respect. Once again, I don't care what the result is, but one of the three options should be chosen, at the very least so the Monteverdi template can be deleted if not used. You all cite rules that have never resulting in any meaningful compromise in this case and then say that not abiding them would be a bad idea. I tried to propose an easy way out but it seems that no one wants a way out in the first place, so please argue about this until it quites down in a couple of weeks so then I can finally nominate the topic. - Aza24 (talk) 22:05, 2 July 2020 (UTC)
Look, I get that you're frustrated, but you're blocking off possible avenues for compromise by saying that the end result has to be one of the three options below. It doesn't. There is no reason in existence why the articles need to be identical, and we shouldn't be having a vote here about making them all either what's here or what's there. Nikkimaria (talk) 22:10, 2 July 2020 (UTC)
No, you're right, I recognize that common sense doesn't have a place here on Misplaced Pages. Just let me know when this discussion is over so I can nominate a featured topic that was supposed to have been nominated yesterday and be reflective of Brian's legacy, not the legacy of an infobox debate. Aza24 (talk) 22:21, 2 July 2020 (UTC)
Here's a common-sense answer for you: nominate it whenever you like. It's not contingent on this discussion. Nikkimaria (talk) 22:26, 2 July 2020 (UTC)
'legacy of an infobox debate' .. 'pouring petrol onto the embers of the infobox wars' .. there, fixed that for you. Scarabocchio (talk) 13:06, 4 July 2020 (UTC)

I find Nikkimaria's argument convincing that the Featured topics criteria don't ask for the same parameters to be filled. It's fine then to leave the article as it was. Sorry that my premises were wrong, and the emotions that caused. --Gerda Arendt (talk) 07:16, 3 July 2020 (UTC)

Update

Thanks to Nikkimaria and SchroCat for their respectful discussion with me. As Nikkimaria pointed out, the current status does not actually impede a featured topic nomination, so I have begun the nomination and anyone who wants to can discuss it here. Apologies if I overreacted, a frustrating situation at first but not seemingly pertinent to the Featured topic in the first place. Aza24 (talk) 01:43, 4 July 2020 (UTC)

Footnotes

While fixing some lint errors and page range formatting, it struck me as odd and not consistent with other opera articles that the Italian incipits are given in footnotes and not inline. I suggest to incorporate them into the narration. E.g.

… who claims greater power than either: "I tell the virtues what to do, I govern the fortunes of men."
Notes
  1. Io le virtuti insegno, io le fortune domo

do this instead:

… who claims greater power than either: "I tell the virtues what to do, I govern the fortunes of men" ("Io le virtuti insegno, io le fortune domo")

Further, I recommend that the existing short citations be standardised with {{sfn}} or {{sfnp}}; at the moment, most short citations use just the author's name, others use the year (the recommended method), others use author + (short title), sometimes for the same author (Rosand), which makes finding the cited source unnecessarily cumbersome. I'm aware that WP:CITEVAR has been interpreted as requiring consensus for such a change. So, is there any appetite for such (IMO modest) change? -- Michael Bednarek (talk) 04:59, 13 October 2023 (UTC)

Looking at the handful of FAs about operas I don't think there is in practice a norm for translating incipits (a word I didn't know and am glad to learn). Of FAs about operas in languages other than English, Agrippina doesn't translate them at all, by and large; The Bartered Bride gives them in English and not in the original in the main text (with a table later on giving both); Carmen gives the French titles with no English translations; Falstaff gives the Italian and then the English inline; Gianni Schicchi likewise (though differently punctuated from Falstaff's); Il ritorno d'Ulisse in patria, like The Bartered Bride gives them in English and not in the original in the main text with a table later on giving both; ditto for the article under consideration here, L'incoronazione di Poppea; L'Orfeo sticks to English, though there is, perhaps strangely, a separate article on the various numbers, giving both Italian and English); Les pêcheurs de perles gives French only; Orpheus in the Underworld follows the set-up for The Bartered Bride and Il ritorno d'Ulisse in patri; Rinaldo sticks to Italian only, in general; and Tosca gives Italian titles with English in brackets. A logical case could be made for rationalising all the above, though it would require a huge (and to my mind disproportionate) effort, and I suggest any proposal to do so ought to be floated at the project talk pages for opera and classical music.
The principal author of the article (and of all but three of the above-mentioned FAs), the greatly missed Brian Boulton, died nearly four years ago. Speaking as one of several editors who keep an eye on the articles BB took to FA – more than 100 of them – I think he would have welcomed the above suggestion for the referencing. I don't use the sfn system myself, and rather dislike it, but in his later FACs BB adopted it. (Is it correct, though, to call it "the recommended method"? Recommended by whom, where?) But as the proposal has implications for other articles it might be as well to raise the suggestion on the two project talk pages as well. Tim riley talk 08:49, 13 October 2023 (UTC)
Thank you, Michael, for bringing it up here. I also found the great BB open to changes serving readers and editors. I think you can go ahead and make the changes for this article, and take from there if others should follow. As nice as consistency across articles is, it has never worked well for Misplaced Pages, and is no goal I pursue. Consistency within one article seems a better idea.
I support both sfn referencing, and having the Italian seen right next to the translation, without awkward going back and forth. This may be different for Smetana, because fewer readers will profit from Czech than Italian, Italian being what you now will hear in opera houses and on recordings. Italian with English in brackets may be preferable for this opera. --Gerda Arendt (talk) 09:09, 13 October 2023 (UTC)
I prefer including the incipt translations in line rather than in a footnote or table. I do think this would be nice to standardize across the FAs, but only after a discussion at the opera project, and no one may be willing to go through all of them all to do it, since there's nothing actually wrong with any of them. As for the short cites, you only need to include the year when there are two or more books by the same author. I do not see any reason to convert the refs to sfn or other templates, because manual short cites and are much easier for tech dummes like me to use. -- Ssilvers (talk) 16:50, 13 October 2023 (UTC)
So I take it that incorporating the Italian incipits into the article is not controversial now. Although I think that they should normally not be in italics, to cause the least disruption to the format here, I suggest: … who claims greater power than either: "I tell the virtues what to do, I govern the fortunes of men" (Io le virtuti insegno, io le fortune domo). (Note that I moved the full stop to the end, outside the quotation marks.) Bar any objections, I will change the article accordingly in the next 2 days.
As I say above, as this has implications for a whole range of articles I don't think you should do anything without establishing a consensus on the Opera and Classical Music project pages. Tim riley talk 12:23, 15 October 2023 (UTC)
As for the format of shortened footnotes: Most scholarly works and most Misplaced Pages articles use the author-date style. This article uses the date part only when necessary, and sometimes uses an author + (short title) format. I think such a mixture is unfortunate and possibly confusing. The aim of citations is to let readers look at the sources. This would be much easier if the text "Carter (2002), pp. 1–2" were a clickable link to Carter's work. This can be done with {{sfnp|Carter|2002|pp=1–2}} which doesn't seem to require much technical knowledge. However, the template(s) {{sfn(p)}} &c can be used to retain the style as it exists here now. Thoughts? -- Michael Bednarek (talk) 03:20, 15 October 2023 (UTC)
The restriction of the dates to two or more works by the same author makes it clearer and so easier for the reader, I find. The clickable link is no real use unless it opens the actual source rather than merely its biobliographical details. I think you should seek a wider consensus, as above, if trying to establish a new norm and changing WP policies. Tim riley talk 12:23, 15 October 2023 (UTC)
Tim, 2 responses: a) Incipits: As you observed, there's no unified style for these now, and I'm convinced that a discussion at Misplaced Pages talk:WikiProject Opera won't result in consensus for one. Articles have grown in different ways, and there is no compelling format either way. However, the format in this article is particularly unhelpful; 2 editors agree with that. b) Shortened footnotes format: Only inline citations provide 1-click access to a source. They are impractical if many different pages of a work are cited. {{sfn}}-templated citations at least spare the reader from having to locate the cited source in the bibliography. Again, I don't think the Opera Project will come to a consensus on the preferred method, nor should it. I'm just suggesting how this article could be improved. -- Michael Bednarek (talk) 13:06, 15 October 2023 (UTC)
Well, as I say, the BB of his later years would agree with you about the sfn system. He and I had some amicable arm-wrestling and a certain amount of mutual tooth-baring in some of our joint FAC overhauls as to the formatting (as well as to the pruning of each other's prose). E.g. he won chez Shaw, and I won chez Delius and Holst. I find the same with SchroCat with whom I have collaborated on even more articles than I did with Brian. In our present enterprise SC has courteously followed my lead, and in others I have followed his. Though I'm fully aware of WP:OWN I can't help regarding some of BB's successful FACs as "his" and I try to imagine what he would say when presented with questions such as the one before us. I think he would approve of your suggestion about sfn'ing things, as long as you don't bag it as a precedent and try to impose it on other FAs by, e.g., me. But as to the incipits (how one loves to play with a newly found word!) I remain of the view that without a project-wide consensus we should refrain from substantially changing the layout agreed at FAC. Tim riley talk 14:03, 15 October 2023 (UTC)
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