Product Description

With an encyclopedic knowledge of opera and a delightful dash of irreverence, Sir Denis Forman throws open the world of opera--its structure, composers, conductors, and artists--in this hugely informative guide. A Night at the Opera dissects the eighty-three most popular operas recorded on compact disc, from Cilea's Adriana Lecouvreur to Mozart's Die Zauberflöte. For each opera, Sir Denis details the plot and cast of characters, awarding stars to parts that are "worth looking out for," "really good," or, occasionally, "stunning." He goes on to tell the history of each opera and its early reception. Finally, each work is graded from alpha to gamma (although the Ring cycle gets an "X"), and Sir Denis has no qualms about voicing his opinion: the first act of Fidelio is "a bit of a mess," while the last scene of  Don Giovanni "towers above the comic finales of Figaro and Così and whether or not [it] is Mozart's greatest opera, it is certainly his most powerful finale."
The guide also presents brief biographies of the great composers, conductors, and singers. A glossary of musical terms is included, as well as Operatica, or the essential elements of opera, from the proper place and style of the audience's applause (and boos) to the use of surtitles.
A Night at the Opera is for connoisseurs and neophytes alike. It will entertain and inform, delight and (perhaps) infuriate, providing a subject for lively debate and ready reference for years to come.
        

Product Details

• Amazon Sales Rank: #152653 in Books
• Published on: 1998-09-01
• Released on: 1998-09-01
• Original language: English
• Number of items: 1
• Binding: Paperback
• 976 pages

Amazon.com
As a nuts-and-bolts operagoer's guide, Denis Forman's book is richly incisive. It's equally satisfying as a tart, effervescent take on the solemn world of opera.

The author--a British television executive and former deputy chairman of the Royal Opera House--covers most of the likely offerings of your local repertory company, with a few questionable omissions (Peter Grimes) and inclusions (The Threepenny Opera). For each he provides a synopsis, musical highlights, critical remarks, and historical information (the premiere of Il Trovatore: "stupendous"; that of Norma: "a flop"). Another section offers comments on everything from the craze for authenticity to the practice of booing.

Forman's opinions sometimes run athwart of convention. Falstaff "has no sex appeal and no heart, and opera demands both these qualities"; Tristan und Isolde is the creation of "the Wagner that liked to spend time stroking velvet." His tone, especially in the synopses, is often evocative of Anna Russell's opera parodies: "It really is too bad of you Tristan to die on me like this. She passes out."

The prose can be cute, but that fits Forman's approach of puncturing the inflated atmosphere of opera while glorying in it. Though he is most entertaining when he's daring to shout in church, his enthusiasms are as illuminating as his barbs. "Traviata is the first grown-up opera about contemporary life," he says, adroitly locating that work in operatic history. In Don Giovanni, "Mozart brought terror to the opera stage for the first time." It's the book's greatest pleasure that Forman's passion is matched by his knowledge. --David Olivenbaum

From Booklist
The author, a former deputy chairman of the Royal Opera House, may well become the Anna Russell of print with this irreverent guide to plots, singers, composers, and recordings of more than 80 operas.

Forman's criteria for selection is that of recorded popularity--the opera must have had three or more versions listed in the Gramophone CD catalog of December 1992. Operas are alphabetically arranged from the backstage tragedy Adriana Lecouvreur to the psychiatric tragedy, Wozzeck. All are described in degrees of irreverence and are also rated--from alpha-plus to gamma. Also included is a description of the cast, running time, and a unique commentary on the major arias, described as "Look Out For," with the maximum of a three-star rating awarded "at the whim of the author." The arias are listed in "minutes from start." Notes, news and gossip, and a comment section complete the entries. The book concludes with a dictionary of opera terms; brief biographies of composers, conductors, and singers; and an index.

Although there is much in this volume that might be considered sacrilegious by the serious opera aficionado, Forman's style is humorous, entertaining, and insightful--Hansel and Gretel is said to be loved in Munich because of its "Grimm Teutonic nature." Originally published in Britain in 1994 as the Good Opera Guide, A Night at the Opera belongs in all music reference collections. It will balance the serious, weighty tomes and perhaps spark an interest in opera for those who think it dull and boring.

Inside Flap Copy
With an encyclopedic knowledge of opera and a delightful dash of irreverence, Sir Denis Forman throws open the world of opera--its structure, composers, conductors, and artists--in this hugely informative guide. A Night at the Opera dissects the eighty-three most popular operas recorded on compact disc, from Cilea's Adriana Lecouvreur to Mozart's Die Zauberflöte. For each opera, Sir Denis details the plot and cast of characters, awarding stars to parts that are "worth looking out for," "really good," or, occasionally, "stunning." He goes on to tell the history of each opera and its early reception. Finally, each work is graded from alpha to gamma (although the Ring cycle gets an "X"), and Sir Denis has no qualms about voicing his opinion: the first act of Fidelio is "a bit of a mess," while the last scene of  Don Giovanni "towers above the comic finales of Figaro and Così and whether or not [it] is Mozart's greatest opera, it is certainly his most powerful finale."
The guide also presents brief biographies of the great composers, conductors, and singers. A glossary of musical terms is included, as well as Operatica, or the essential elements of opera, from the proper place and style of the audience's applause (and boos) to the use of surtitles.
A Night at the Opera is for connoisseurs and neophytes alike. It will entertain and inform, delight and (perhaps) infuriate, providing a subject for lively debate and ready reference for years to come.
        

Customer Reviews

A Difficult Read for Americans
A decent, reasonably broad overall review of major operas intended for a lay audience. Forman's style, however, is a highly colloquial British English, which does not travel well across the Atlantic. I am American, but lived in the UK for a year in the 90s; I found the book's deliberately cute style difficult to follow, and I quickly became annoyed at what I perceived as the author's excessive efforts to convey his irreverance. Overall, a useful work that focusses on the author's impression of each opera's entertainment value; historical context and academic aspects of music and dance take a back seat.

Sound bites about opera
The author seemed to want to be cute and quotable rather than offer a reasoned perspective on opera. At times I felt he even became condescending in his attitude. This could have been a misguided attempt to counter the widely held opinion that opera is only for snobs, but people with that opinion wouldn't read his book anyway.

Indispensible and entertaining opera guide
An excellent source for budding opera buffs. Enjoyable, pithy, informative.