Books on the drama and presentation of opera.

Forgive me that the background to my question is long.

I have enjoyed classical music for a long time. At one time I thought, though, that Beethoven's ninth symphony would be better without the singing. I liked choral music, madrigal, and others, though, and finally came to shiver when the bass belts out 'Friends!'

I tried seriously, by listening from time to time, to appreciate opera, but I could not. I did not like the operatic voice, and I could not hear the music for the singing (I thoroughly enjoyed some instrumental recordings of pieces of opera).

I knew, however, that good people liked opera. More important to me, good composers liked opera and hoped to do their best work there. At least some loved the idea of combining, seriously, a multitude of arts. Furthermore, I found that after listening to Bach cantatas, I wanted to hear more Bach cantatas.

I got a few of the Black Dog booklet and CD combinations. One long afternoon I read the booklet, then sat down with the bilingual libretto and listened to the CD's of Aida. I followed the Italian to see what words merited a shriek, and I followed the english to know what was going on. It was excruciating, but when it was done I reckoned I would have to do it again with another opera. I haven't, but I have pursued an appreciation of opera.

I had bureaucratic dealings with one of the officers of the local opera society, and one of the board of directors was a church mate. I had heard that The Magic Flute was mystical, and I am hip to weird, so I went to it. I was overwhelmed. I knew I had to do that again and have. What went on was important to what was sung.

I bought a few opera DVD's in hopes someday of recapturing the theater experience. Earlier this year that member of the board of directors of the opera society started a monthly playing of an opera DVD at church. I decided that I could try that. We watched Falstaff with Brin Terfel at Glyndeborne.

I offered to bring a DVD of Aida to the next session. By that time I had three of them. Staging and performers led me to recommend one of them. In two of them Pavarotti played Radames. In the one I recommended, he, unfortunately, moved into place and stood and sang when it was his turn; it was, however, beautiful singing. In the other he showed some expression on his face and made some gestures.

By the time I brought Cosi fan Tutte to the group last night, I had four versions. I liked two of them especially, one for excellent but possibly over-simplified staging and an excellent, crafty Alfonso, and the other for good but complete staging and an excellent, crafty Destina. We watched the first (I had seen the opera enough that I could sometimes turn my back on it and enjoy the singing). The group thanked me for selecting the DVD with the beautiful music; it was beautiful, but I picked it because of the staging and the portrayal of Don Alfonso.

My take on opera is different from what I hear from a number of other fans ("I don't pay attention to the supertitles; I just listen to the music"). I need the whole package. I am not offended by NPR or CD opera, but it is not something I will make special room for in my day.

So...a few minutes ago I ordered Opera as Drama by Joseph Kerman. I wondered what else I might read about the artful (not so much the nuts and bolts) big picture of opera.

I'll pay attention to any suggestions.

Thank you,

Robert

Kerman is lively and engaging, but be warned that his opinions are very strong and somewhat stuffy--for instance, he hated Puccini (I think the notorious description of Tosca as a "shabby little shocker" originated in this book). Such conviction can be seductive, but unhelpful if you're looking to learn to appreciate opera, and not merely criticise, or confirm your existing tastes. Still, Kerman's book is very interesting (and unusual) in its emphasis on opera as (also) a stage, dramatic art.

I'm sorry I can't make more specific recommendations since we seem to have quite different approaches to the subject (I fell in love with opera instantly, enjoy many recordings as much or more than live performances, and never watch opera DVDs), but here's the list of my books related to opera in any case.

Oh--Linderberger's Opera: the extravagant art might be closest to the "big picture" approach you mention.

Thank you. It is good to have the caveats. I will browse your shelf more closely later, but I looked for Opera: The Extravagant Art. Barnes & Noble.Com doesn't carry it; the publisher doesn't recognize it; but it is available in a wide range of prices used. I will probably order it the next time I am feeling nonchalant about credit.

I also ran across Opera and Its Symbols: The Unity of Words, Music, and Staging by Robert Donington. I think I have seen a review of that, and I may take it on.

Robert

A couple of books that examine opera as a dramatic art form, opera's special place within the performing arts and its "meaning" to music lovers, popular culture and academics which I've liked and would recommend are Peter Conrad's A song of love and death and Paul Robinson's Opera and Ideas.

For many years M. Owen Lee, a Catholic priest and professor of classics at the University of Toronto, contributed thoughtful and often erudite commentaries during intermissions on Saturday afternoon Metropolitan Opera broadcasts. Some of these have been collected into books. These might prove interesting if you're looking for brief essays on single operas or operatic composers. Father Lee has also published books that deal specifically with Wagner and with the relation of opera to Greek classical theater and myth.

Thank you.

I noticed Conrad's book on the Barnes & Noble.Com web site last night. One of the reviews:

Library Journal
The premise of this intelligent, self-indulgent, idiosyncratic discussion of the meaning of opera is buried in a brilliant maze of discursive analysis. As he follows the musical treatment of five prototypical characters who appear continually throughout opera, Conrad bogs down in endless explication of plots. Far too many operas, as well as performances of directors, singer/actors, and conductors, are analyzed in merciless, often psychological detail. When Conrad turns to the opera houses themselves, discussing audiences and recent house design, he is both more interesting and bitingly funny. Tightly and colorfully written by a literary scholar, this book will appeal to fanatical opera buffs only. Philippa Kiraly, Cleveland, Ohio

is fairly adverse. Is your experience otherwise? The publisher's blurb made me think I would want it.

I had noticed Robinson's book too. They say little about it -- nothing adverse so I thought I would keep it in mind.

I will do some digging on Father Lee.

Robert

Conrad's book is decidedly eccentric and impassioned; it's very much the book of a literary scholar (Conrad is a professor of English at Christchurch College, Oxford) who loves opera. As such, I've found that it tends to appeal to people who like books as much or more than they like opera. But on second thought it may not be a good choice for a beginning opera buff.

The Robinson book is a good one and a great deal less "personal" than Conrad's, more focused on opera as a dramatic art form and the ways in which operatic works and composers have engaged with and reflected the intellectual and social histories of their eras. I don't always agree with Robinson, but I do find him stimulating.

Last night I finished reading Opera as Drama. It was over my head musically, but I think it is proving useful to my understanding. This was a second edition in which he purposely reduced the polemic tone so as to attract more attention to his ideas, but I guess that cost us a "shabby little shocker." He continues, however, to find Puccini , including Tosca, trivial.

Opera and Its Symbols: the Unity of Words, Music, and Staging has come through the door. I suspect I'll start reading another book in a few minutes; it remains to be decided whether this will be the one.

Song of Love and Death: the Meaning of Opera is winging its way to me as I write. It too may be over my head, but I am coming at opera from a literary direction, so it may be appropriate.

Operas and Ideas: from Mozart to Strauss and Divas and Scholars: Performing Italian Opera are on my barnes and noble dot com wish list. Only laziness has kept me from ordering Opera: the Extravagant Art.

I am making headway. Thank you marietherese and LolaWalser for your help.

Robert

Is there a specific book / books for learning about the opera Carmen?

I quit smoking at the end of 1985 but still have a craving for a cigarette, so I have avoided Carmen. I believe our opera group at church is planning to watch it on DVD early next year. Closer to that time I will order some books about it and even read them.

I just searched bn.com with carmen in the title and bizet in the keywords. I found four books to look at, one of which I already have. Carmen (Black Dog Opera Library) is the one I have. I finally found myself able to pay attention to opera with their version of Aida; see my original post above. Georges Bizet: Carmen: (Cambridge Opera Handbooks Series) comes from a series that I have used and found useful. When there is a story, novel, play behind an opera, I like to read it. Carmen by Prosper Merimee is available. I also like to have the libretto in the original language and in english; I really like the English National Opera series, and
Carmen: Libretto in English and French: (English National Opera Guide Series #13) is available. Sometimes the english versions in the series are not literal enough for me; otherwise I am happy with them. I especially like the accompanying essays, or I would opt for the cheaper Schirmer, or whatever, libretto (which I get when the ENO version is not available and Schirmer is).

There may be others that some folk know about having read them. Let us hope they will see this and post something.

Have fun,

Robert