A History of Opera

An important question to ask when selecting a history of opera to be purchased is, "How am I intending to read it?" (a sub-question may be, "Will I ever really read it?"). That is, will it primarily sit on a shelf and be consulted before some performances (i.e., used as a reference book), or will it be consumed as a single text, with an eye to a broader narrative, including the underlying themes and fundamentals of opera, a complex art-form that rewards thoughtful study?If the latter suits your purpose and you are willing to trade comprehensiveness for some outstanding insights, "A History of Opera" by Abbate and Parker is a solid recommendation. If you prefer breadth, or can afford both, then  By Donald Grout - A Short History of Opera: 4th (fourth) Edition  (ironically nearly 200 pages longer) by Grout and Williams is also recommended. Each has their own distinct strengths.The distinctions between the two books are evident from their explicit purposes.In their Introduction, one major issue that Abbate and Parker propose to investigate is the fate of opera, that is, in restatement, "Can contemporary opera balance the demands of an 'established' reportory while also producing new and relevant works?" They pursue that matter (and others) with their own style, one of an almost conversational quality, nearly shorn of references to musical scores, and focused upon the composers and works that most readers will have encountered (such as Handel, Glück, Mozart, Verdi, Wagner) while practically overlooking many others (for instance, there is only a passing reference to Vivaldi, and no mention of either of the Gershwin brothers, let alone Scott Joplin - all of whom receive comment by Grout et Williams).In the Preface to the Fourth Edition, Williams recalls Grout's original intentions, and by extension his own, of writing a book "to offer a comprehensive report on the present state of knowledge about the history of opera" (xi). As such, it is focused upon scholarly research and has a tone more consistent with musicologists rather than accessible historians (this is not intended to denigrate the work of Grout and Williams - I would assign that book five stars, and it would be the first choice for many people seeking a reference text).Examples of Abbate and Parker's conversational style:"Opera can change us: physically, emotionally, intellectually. We want to explore why."(1),"Minor works from the [18th century] that were unearthed belonged to history. Mozart's operas belong to 'us'."(36)," ... Grand Opera in 1946 was not so much a genre as something you associate with a long-deceased great aunt, fondly recalling the ropes of pearls, the mink and the whiff of mothballs."(262), and"Richard Strauss' 'Elektra' may have shrieked, raved and jumped up and down in dirty rags, struggling to make herself heard over an enormous, blaring orchestra; but never mind."(92).In comparison, the Grout 'History' offers concise language and an academic, respectful tone.With regard to Abbate and Parker's emphasis upon the most popular composers, the benefit is that their approach includes, in many cases, a more in-depth look at some works than is common for a history. For instance, in the Grout et Williams text, Rossini is given a five page overview (as well as many other references peppered throughout), including just these two short references to 'Guillaume Tell': "With 'Guillaume Tell', Rossini reached the climax of both his art and his fame."(389) and, "'Guillaume Tell' [is] one of the finest examples of grand opera in the early nineteenth century."(389). In Abbate et Parker, 'Guillaume Tell' alone receives three pages of discussion, including a focus upon the scene where Tell must shoot an apple atop his son's head. They write, "There is almost no music when Tell lifts his bow for the shot, only a single pitch from the tremolo strings, and that is significant."(269) The significance of the scene to grand opera is then explained. Other works that also feature a more intense look include Wagner's 'Tristan' and Musorgsky's 'Boris'. These digressions into particular works serve their narrative, and will not disappoint.Conversely, Grout's discussion of Wagner's 'Meistersinger' is far more extensive and edifying than the entry in Abbate and Parkers text.At times, the tone of Abbate and Parker's text seems to lack the solemn reverence of other histories of opera as when they remark upon Monteverdi's 'Orfeo' as being elevated to "the Ur-opera"(42) or the conventional tendency to, perhaps, over-inflate the role of philosophers and theorists in the birth of opera. In their account working composers deserve at least equal credit.Maybe another question to ask oneself before purchasing: "Are you a proponent of opera being an elite art-form, the domain of musicologists as well as a few select others allowed into the guild, or is opera more a living art form, governed by the composers, artists, and a broader audience muddling about and finding the way?" Obviously some musicologists make great contributions to our understanding and appreciation of opera, but ultimately, isn't opera "about" artists entertaining audiences? Doesn't the fusion of text and music have a near universal appeal? Admittedly, part of opera's appeal is "digging in" and exploring its conventions (and its quirks), but its essence is the beautiful marriage of drama and music that appeals to both our senses and intellect.In their words the authors refer to one contemporary perspective that "... has turned operatic performance into an activity policed by a reverence for the work as a well nigh sacred object - a reverence in almost all cases not present at the time it was created."(7).For a reader willing to look at opera as an organic product of human expression that glorifies the voice with some peculiar conventions that evolve from time to time and then bounce across borders, this book is a very good read. Even if your great aunt might not have approved.

Purchased for a gift and receiver was very happy with it. The print is smaller than a typical book so if an older reader may want to also gift a magnifying bookmark. First copy that came was damaged but it was replaced quickly with a good condition book.

One is a professor of music at Harvard while the other teaches music at King's College in London,. One is a woman and American while the other is a British male. Through their long years of teaching, studying and watching opera they have produced a sine qua non textbook on the history of Opera in the Western culture. Carolyn Abbate and Roger Parker have produced an affordable and comprehensive book on the history of my personal favorite art form. Opera began in the seventeenth century in several Italian cities most notably Florence and Venice. It quickly spread to Germany and Italy. Great opera composers produced monumental works. Among the opera composers surveyed in the book are Gluck, Monteverdi, Mozart, Rossini, Bellini, Donizetti, Verdi, Wagner, Richard Strauss, Puccini, Benjamin Britten, Berlioz, Beethoven, Berg, Offenbach, Meyerbeer and several others. The history of opera is covered. This is a long survey of the four hundred year old art form but it the text is enriched with many anecdotes and historical footnotes that will hold the interest of the reader. Anyone from expert in opera to neophyte to the art will learn from this erudite work. Highly recommended for all who love opera!

I developed a love for opera only about 20 years ago and have gradually not only built up a list of favorites, but also am now able to enjoy operas that at earlier stages I found too difficult. This book tells me why. More, by showing me how the art form has evolved, and why, I now have a much better appreciation for what is happening in good opera. Particularly helpful for me was the way the authors explain in some detail, using arias and scenes from many well-known operas, how the cord changes, and musical themes and refrains tell the story as much or more than the libretti. I've wondered why there are so few contemporary operas that are successful or have any hope of entering into the repertory. This book discusses that issue in great detail in the final chapter - for me, worth the price of the book right there.

This is a gift for my son who has a PhD in musicology and refers to it often. Seller amazing! Couldn't be better in every way!!!

I got this book for my brother for Christmas. He is huge opera buff traveling to London annually and New York for various productions. He was quite pleased to receive the book as reference as background information.

Bought it for my history class. =)

My Mom is a HUGE opera fan and she was so excited to receive this book. She has just started it and is already thrilled by the level of detail and the many things that even she did not know about. I will add to this reveiew on her behalf once she completes the book!I am a happy daughter - found just the perfect Christmas Gift for my Mom!

Despite what I thought was my extensive background in opera (watching and performing), I found this a treasure trove of new information that had me searching out some of the works that are referenced and thinking again about the ubiquitous Wagner and just what and how he was planning his project, and the struggles of modern opera to find acceptance. This is all quite entertaining, but the most serious contribution the book makes is in resetting our expectations about opera. Their point, and it is an excellent one, is that the survival of any given opera is a comparative rarity, that most, nearly all, are consigned to history not long after their initial outing. Given the necessity of opera (always a vast and expensive undertaking) to give a return on investment, it would have been a brave opera house that didn't concern itself with this from the outset. As a consequence, we tend to expect too much of modern opera, to at once present its credentials as operating in the present and a potential contribution to the repertoire. Abbate and Parker's point is that this would be quite an outlier: even the composers whose works survive have plenty of forgotten contributions. They are also good on the flexibility of composers in revising their work, dismissing the notion of an opera as a fixed text, for much the same reason. Their other issue is about the survival of opera in complex economic times where there is, ironically, no shortage of opera resources to enjoy even if the ticket prices are beyond most for a night at the theatre. As a serial attender, I might balance this by noting I rarely see empty seats wherever I am in the world given the ability to book and pay long in advance of a visit to a foreign country. No doubt I have been sitting next to cultural tourists for whom a visit to La Scala or the Bolshoi was on the bucket list. The availability of the experience of the theatre has never been more accessible, even if the ticket prices aren't, and we are talking about people with enough money to travel the world in the first place...There are other important contributions the book has made to my understanding of opera, including some I have been in. The structure and characterisation of operatic styles are well covered, especially their evolution and the challenges to the conventions made long before Wagner decided he had remade the form, are welcome, as is the connection to opera through popular culture. The rise of the Regieoper directors (and designers who are at least as influential in the outcome considering the lighting rehearsal schedules of international opera singers) is identified for what it is, and there are some very frank assessments of how dull a night in the plush velvet seats can be.This is a refreshing look at a complex art form that understands the forces in play and discusses them frankly and with an enviable clarity that will explain your various responses to it, whether they have been engagement, boredom, outrage or confusion. A great guide to the grandest of all...

It is hard to think there could be a better overview of the history of opera than this. It is not an encyclopaedia but a narrative account of 400 years with way stations at some highlights, and stimulating insights and reflections including thoughts on the state of the art form in the second decade of the 21st century. Always readable. The musical examples require no specialist knowledge but inspire you to seek out recordings online to hear what is being described - though these are only intermittent. Inevitably where the authors choose to focus will not please everyone - fans of Madame Butterfly might be especially displeased - but the sense that you are listening to well informed, thoughtful and considerate guides who balance their own preferences with a sense of history is one of the delights of this book. It's long but very readable. Overall highly recommended for anyone who wants to learn about opera beyond summaries of the greats of the genre.

As the first complete look at the history of opera I found this very informative and easy to read and has a good bibliography for further reading and has made me want to listen to operas that I didn't think I would be interested in. I read the Kindle edition so it was easy to highlight in order to go back and read important bits again and refer to further reading. Most enjoyable...thoroughly recommend.

I read and enjoyed this book very much. I agree that it is not a comprehensive reference book but I don't think the intention was that it should be. It does however give quite a detailed and entertaining review of the differing developments in opera over the period. Parker has written the Oxford History which is more of a reference book. I found this a compelling read albeit sometimes a bit too sententious for my liking. I would happily recommend it. It's not for beginners either really. You would need to know the core operas that are considered.

I was keen to learn more about opera, feeling I'd been to a few but had never really learned about opera.This book provides a great sweep of the past 400 years. Interesting overview of the evolution of opera and interesting discussion of major titles. I actually downloaded a number to listen to whilst I was reading the book which made it really enjoyable.