The Story of Opera

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Part I : Experiencing Opera
Chapter 1 : Going to the Opera House
Chapter 2 : The Orchestra Plays
Chapter 3 : The Cast Appears
Chapter 4 : The Story Unfolds
Part II : Opera of the 17th Century
Chapter 5 : Opera in Princely Courts: Florence and Mantua Monteverdi: Orfeo
Chapter 6 : Opera in Commercial Opera Houses: Venice Cavalli: Giasone Monteverdi: L'incoronazione di Poppea
Chapter 7 : National Opera: Paris and London Lully: Alceste, Atys, Armide Purcell: Dido and Aeneas
Part III : Opera of the 18th Century
Chapter 8 : Opera on Classical Subjects Handel: Giulio Cesare in Egitto Rameau: Dardamus, Hippolyte et Aricie Gluck: Orfeo et Euridice, Alceste, the Iphigenia operas
Chapter 9 : Opera on Comic Subjects The Beggar's Opera Pergolesi: La serva padrona Mozart: The Marriage of Figaro, Don Giovanni, Cosi fan tutte
Part IV : Opera of the 19th Century
Chapter 10 : Opera on Themes of Political Conflict Gretry: Richard Coeur-de-Lion Beethoven: Fidelio Meyerbeer: Les Huguenots Bellini: Norma Verdi: Aida Musorgsky: Boris Godunov
Chapter 11 : Opera on Themes of Domestic Conflict Bizet: Carmen Rossini: The Barber of Seville Donizetti: Lucia di Lammermoor Verdi: La Traviata, Otello Puccini: La boheme
Chapter 12 : Opera on Legendary Themes Gounod: Faust Wagner: The Flying Dutchman, Lohengrin, Die Walkure Glinka: Ruslan and Lyudmila Rimsky-Korsakov: The Legend of Kitezh Dvorak: Rusalka
Part V : Opera of the 20th Century and Beyond
Chapter 13 : Human-Interest Opera Janacek: Jenufa Berg: Wozzeck Gershwin: Porgy and Bess Britten: Peter Grimes Operas of Floyd and Heggie Shostakovich: The Lady Macbeth of Mtsensk District Poulenc: Dialogues of the Carmelites Adams: The Death of Klinghoff
Chapter 14 : Operas of Dreaming Saariaho: L'Amour de loin Debussy: Pelleas et Melisande Strauss: Die Frau ohne Schatten Stravinsky: The Rake's Progress Messiaen: Saint Francis of Assisi Schoenberg: Moses and Aaron Operas of Thomson, Glass, and Davis Liget
Glossary Notes Works Cited Credits
Index

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The Story of Opera explores the centuries-old tradition in which the emotional power of music is linked to the human issues that can be enacted as stories. The first part, "Going to the Opera," introduces newcomers to every element of the operatic experience-venues, seating arrangements, dress and costumes, stage effects, orchestra, singers, and dancers-describing how each began and changed over the years, and how they have all combined to enthrall audiences for four centuries. The remaining parts explore operatic repertory from the 17th century to the present, providing insightful readings of plots, particular scenes, staging, and music.

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