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Opera Wars: Inside the World of Opera and the Battles for Its Future
Blunt, irreverent, and at times wittily subversive, Opera Wars spotlights opera’s colorful and sometimes warring personalities, increasingly fierce controversies over content, and the battles being waged for its economic future.
Drawing on interviews with dozens of opera insiders—as well as her own experience as an award-winning librettist, trained vocalist, opera company director, and arts commentator—Caitlin Vincent deftly unravels clichés and presumptions, exposing such debates as how much fidelity is owed to long-dead opera composers whose plots often stir racial and gender sensitivities, whether there’s any cure for typecasting that leaves talented performers out of work and other performers chained to the same roles, and what explains the bizarre kowtowing of opera companies to the demands of traditionalist patrons.
Vincent never shrinks from depicting the industry’s top-to-bottom messiness and its stubborn resistance to change. Yet, like a lover who can’t quite break away, she always comes back to her veneration for the artform and in these pages stirringly evokes those moments on stage that can be counted on to make ardent fans of the most skeptical.
Drawing on interviews with dozens of opera insiders—as well as her own experience as an award-winning librettist, trained vocalist, opera company director, and arts commentator—Caitlin Vincent deftly unravels clichés and presumptions, exposing such debates as how much fidelity is owed to long-dead opera composers whose plots often stir racial and gender sensitivities, whether there’s any cure for typecasting that leaves talented performers out of work and other performers chained to the same roles, and what explains the bizarre kowtowing of opera companies to the demands of traditionalist patrons.
Vincent never shrinks from depicting the industry’s top-to-bottom messiness and its stubborn resistance to change. Yet, like a lover who can’t quite break away, she always comes back to her veneration for the artform and in these pages stirringly evokes those moments on stage that can be counted on to make ardent fans of the most skeptical.
- GenresMusicNonfictionHistory
304 pages, Hardcover
First published January 13, 2026
17 people are currently reading
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Displaying 1 - 22 of 22 reviews
January 21, 2026
Thank you Scribner Books for sending me a free advance copy!
4.5 stars
I’ll admit, I’ve only attended one opera and it was a puppet opera at that. This book drew my attention though because it was offering an inside look into all the drama, tension, financial pressures, etc. that go on behind the scenes. And oh my, it was a juicy and interesting read!
Lots of the info I learned from reading OPERA WARS was fascinating. Tickets sales are not enough to keep opera houses afloat. It’s a business that truly relies on government funding, and private and corporate donors. It’s a struggle to keep the lights on.
While it would be awesome to have a ton of new and innovative operas hitting the scene, the reality is the traditional operas are cheaper to produce and still manage to remain popular with audiences.
I was pleasantly surprised to learn many opera houses offer subtitles during the performances. So you don’t have to sit there feeling lost and confused while people are singing in a different language.
A book worth checking out if you enjoy learning about the arts.
4.5 stars
I’ll admit, I’ve only attended one opera and it was a puppet opera at that. This book drew my attention though because it was offering an inside look into all the drama, tension, financial pressures, etc. that go on behind the scenes. And oh my, it was a juicy and interesting read!
Lots of the info I learned from reading OPERA WARS was fascinating. Tickets sales are not enough to keep opera houses afloat. It’s a business that truly relies on government funding, and private and corporate donors. It’s a struggle to keep the lights on.
While it would be awesome to have a ton of new and innovative operas hitting the scene, the reality is the traditional operas are cheaper to produce and still manage to remain popular with audiences.
I was pleasantly surprised to learn many opera houses offer subtitles during the performances. So you don’t have to sit there feeling lost and confused while people are singing in a different language.
A book worth checking out if you enjoy learning about the arts.
September 29, 2025
As an opera enthusiast, a college professor looking for ways to explain opera as a genre to my students (and encourage them to give this art form a chance), and an amateur curious about the lives of opera professionals and business decisions behind various opera seasons, I ABSOLUTELY LOVED AND NEEDED THIS BOOK! It is written by an insider, who not only drew on her own experience but interviewed multiple professionals. I was eager to learn about "behind-the-scenes" that Vincent describes, including an honest portrayal of economic reality of aspiring opera singers. At the same time, the author's language is light and approachable and I won't hesitate to assign the chapter about the history of the opera as one of my class readings for the "Intro to Humanities" class. This book is just what I needed as I'm preparing my syllabus about opera and I'm very much looking forward to its official publication (at which point I'll update my review for additional details).
I thank Netgalley and Scribner for a free ARC for an honest review, and Caitlin Vincent for masterfully describing this important topic: I had trouble finding approachable and informative books about opera, to be honest, and this is a very refreshing take that (in addition to history, etc) includes contemporary problems in the opera world!
I thank Netgalley and Scribner for a free ARC for an honest review, and Caitlin Vincent for masterfully describing this important topic: I had trouble finding approachable and informative books about opera, to be honest, and this is a very refreshing take that (in addition to history, etc) includes contemporary problems in the opera world!
Review of advance copy received from Netgalley
ARC received from NetGalley
My review:
I recently was in a local performance of Pirates of Penzance so I had fun reading this one. Reading about the history and current outlook of the opera world was fascinating. About the warring factions of the traditionalists and those who want to revise the old works and introduce new works. I especially enjoyed where it details the process of what it takes to become a professional opera singer.
The negatives, for me, are the unnecessary profanity and the lengthy and contradictory DEI arguments. The argument seems to be casting must be color-blind but also not simultaneously. Right....
Overall, if you enjoy opera, singing, music, or theatre, this is an interesting read.
My review:
I recently was in a local performance of Pirates of Penzance so I had fun reading this one. Reading about the history and current outlook of the opera world was fascinating. About the warring factions of the traditionalists and those who want to revise the old works and introduce new works. I especially enjoyed where it details the process of what it takes to become a professional opera singer.
The negatives, for me, are the unnecessary profanity and the lengthy and contradictory DEI arguments. The argument seems to be casting must be color-blind but also not simultaneously. Right....
Overall, if you enjoy opera, singing, music, or theatre, this is an interesting read.
January 21, 2026
I love this book! And…wait for it…you don’t have to be an opera nerd to enjoy Caitlin Vincent’s new book Opera Wars. Personally, I’m more of a song-and-dance musical theatre man myself. But opera nerd or not, this book has broad appeal. Caitlin presents her take on the opera world in a series of chapters, or as she refers to them battlegrounds, that dissect it into juicy components.
Her description of each battleground is informative, engaging, and enjoyable. Caitlin’s own insights as a former opera singer, opera company manager, and current librettist lend first-hand insights that are buttressed by extensive research and many interviews. But in her skilled hands, this investment never comes across as ponderous or pedantic.
Caitlin sets the stage by walking the reader though the history that led to the canon – the 50 or so operas that are predominantly performed around the world. Think Bizet’s Carmen or Puccini’s La boheme. This is where one of her themes arises – How important is the Canon? And at what cost to lesser operas – canonish or even lesser-known works. Never mind, god forbid, “new” or “contemporary” opera. And we are not only thinking of those featuring “burp, chip and fart music” as one of her friends puts it. Even contemporary works that are melodic (yes, there is such a thing) suffer by comparison to their older siblings.
Why, you ask? To get the best answer I know, read the book. Like I said, it’s a theme, and Caitlin speaks to it eloquently.
Another theme, maybe the one most central to the book, is fidelity. Apparently in Caitlin’s world, there are knights charging around shouting Fidelity! (Who knew?) You need look no further than the cover to get the point. But how important is fidelity to the librettist’s or composer’s intent? Who gets to say? And does fidelity extend after death? After all, as she reminds us, there is no Committee of Operatic Fidelity. Interesting topic, and one that Cailtin addresses with irreverent wit.
These battlegrounds are where the war for the future of opera is being waged. As I said earlier, you don’t have to be an opera nerd to enjoy Caitlin’s captivating take on these and other battlegrounds. And if you aren’t, she has included a helpful glossary. The only word I didn’t already know was Fach. (Read the book.)
But if you are an opera buff, performer, or aspiring performer, you can’t help but be drawn into Caitlin’s engaging take on it all. Her outlook is insightful, and her book is entertaining and humorous at every turn.
So, get a copy, throw on a recording of Carmen, or maybe Les Indes galantes, and start reading! You might not agree with everything she says (warning – there is one snide comment about tenors), but you won’t be disappointed!
Her description of each battleground is informative, engaging, and enjoyable. Caitlin’s own insights as a former opera singer, opera company manager, and current librettist lend first-hand insights that are buttressed by extensive research and many interviews. But in her skilled hands, this investment never comes across as ponderous or pedantic.
Caitlin sets the stage by walking the reader though the history that led to the canon – the 50 or so operas that are predominantly performed around the world. Think Bizet’s Carmen or Puccini’s La boheme. This is where one of her themes arises – How important is the Canon? And at what cost to lesser operas – canonish or even lesser-known works. Never mind, god forbid, “new” or “contemporary” opera. And we are not only thinking of those featuring “burp, chip and fart music” as one of her friends puts it. Even contemporary works that are melodic (yes, there is such a thing) suffer by comparison to their older siblings.
Why, you ask? To get the best answer I know, read the book. Like I said, it’s a theme, and Caitlin speaks to it eloquently.
Another theme, maybe the one most central to the book, is fidelity. Apparently in Caitlin’s world, there are knights charging around shouting Fidelity! (Who knew?) You need look no further than the cover to get the point. But how important is fidelity to the librettist’s or composer’s intent? Who gets to say? And does fidelity extend after death? After all, as she reminds us, there is no Committee of Operatic Fidelity. Interesting topic, and one that Cailtin addresses with irreverent wit.
These battlegrounds are where the war for the future of opera is being waged. As I said earlier, you don’t have to be an opera nerd to enjoy Caitlin’s captivating take on these and other battlegrounds. And if you aren’t, she has included a helpful glossary. The only word I didn’t already know was Fach. (Read the book.)
But if you are an opera buff, performer, or aspiring performer, you can’t help but be drawn into Caitlin’s engaging take on it all. Her outlook is insightful, and her book is entertaining and humorous at every turn.
So, get a copy, throw on a recording of Carmen, or maybe Les Indes galantes, and start reading! You might not agree with everything she says (warning – there is one snide comment about tenors), but you won’t be disappointed!
January 17, 2026
Excellent in every way! Caitlin Vincent writes about opera - the history, the inner workings, and the future of the art form - from an insider’s perspective.
Full disclosure - Caitlin and I went to school together at the Peabody Conservatory. I was also an original cast member of her company for the first production of The Figaro Project. So, we know each other and sang together a lot in our formative years after studying at a conservatory.
But that should also let you know how Caitlin writes from a true inside perspective of the industry. She is direct and honest in her assessments, both as a singer and award-winning librettist of opera.
To date, I have never read such an accurate portrayal of the operatic audition process as Caitlin describes from her own experiences (and it definitely took me back to those awful, crowded, competitive studios in NYC!).
More than that, I learned a great deal more about opera’s history from this book (and I’ve been singing for over 30 years). It is impeccably researched but also provides a personal tone from actual experience through many decades in the business.
This is a book for opera singers and patrons, opera-adjacent followers, and even for the opera-curious. Five stars - outstanding!
Full disclosure - Caitlin and I went to school together at the Peabody Conservatory. I was also an original cast member of her company for the first production of The Figaro Project. So, we know each other and sang together a lot in our formative years after studying at a conservatory.
But that should also let you know how Caitlin writes from a true inside perspective of the industry. She is direct and honest in her assessments, both as a singer and award-winning librettist of opera.
To date, I have never read such an accurate portrayal of the operatic audition process as Caitlin describes from her own experiences (and it definitely took me back to those awful, crowded, competitive studios in NYC!).
More than that, I learned a great deal more about opera’s history from this book (and I’ve been singing for over 30 years). It is impeccably researched but also provides a personal tone from actual experience through many decades in the business.
This is a book for opera singers and patrons, opera-adjacent followers, and even for the opera-curious. Five stars - outstanding!
January 7, 2026
I didn’t know much about the opera world going into this book, and that’s part of what made it so interesting. The author gives a very honest picture of what life is actually like for aspiring opera singers, especially when it comes to money and job security. She mixes in her own experiences with conversations from people working inside the industry, which makes the whole thing feel grounded rather than theoretical. I also appreciated that she doesn’t shy away from uncomfortable questions—like whether we should keep protecting old operas whose plots and casting traditions can reinforce racial stereotypes and outdated ideas about gender, often at the expense of the talented people. 5 stars!
October 17, 2025
Vincent's introduction to opera production centers on eight (interconnected) conflicts in the titular wars. This structure has three main impacts: it allows her to introduce newcomers to the world of opera, it provides an opportunity for historicization and politicization for regulars, and it allows her to intervene in the debates themselves. The book has broad appeal, but never sacrifices depth or willingness to take a position. Whether you like or dislike opera, it is well worth a read.
Thanks to Simon & Schuster for the opportunity to read the advance copy.
Thanks to Simon & Schuster for the opportunity to read the advance copy.
December 28, 2025
I have been going to opera since I was five years old. My father played Mozart and Handel opera in the car for me on the way to kindergarten as part of a coordinated brain washing campaign so he would have an opera buddy. The origin of this review blog is actually writing reviews of operas we saw in Europe when we took a grand opera tour. So I was thrilled when I got this ARC from NetGalley to review. The plot twist is that I’m not actually the target audience for this book. The second plot twist (plot helix? Plot untwist?) is that I really enjoyed it anyway.
Vincent’s relationship with opera is like that of a slightly insufferable and obnoxious family member. She loves it dearly, but frequently questions its decision making ability. The result is a book that is way funnier than you’d expect a book about a legendarily stuffy art form to be. If you’re an opera buff, you’ll know a lot of the stories in this book, but Vincent’s irreverent but loving tone gives them a fresh sensibility. If you’re curious about opera, this is a great primer, and if you dislike opera, this is a fair critique that probably won’t change your mind but might give you some new things to think about.
As an opera fan who enjoys Baroque opera seria (which Vincent fairly calls an acquired taste), and who is pretty suspicious of any opera with a composition date later than 1900 (which puts me at odds with most of the died in the wool traditionalists), I particularly enjoyed the parts about modern opera, which opened my eyes to where the art form is going and why I should give it a chance.
Recommended for anyone who’s curious about opera, and those who love it.
Vincent’s relationship with opera is like that of a slightly insufferable and obnoxious family member. She loves it dearly, but frequently questions its decision making ability. The result is a book that is way funnier than you’d expect a book about a legendarily stuffy art form to be. If you’re an opera buff, you’ll know a lot of the stories in this book, but Vincent’s irreverent but loving tone gives them a fresh sensibility. If you’re curious about opera, this is a great primer, and if you dislike opera, this is a fair critique that probably won’t change your mind but might give you some new things to think about.
As an opera fan who enjoys Baroque opera seria (which Vincent fairly calls an acquired taste), and who is pretty suspicious of any opera with a composition date later than 1900 (which puts me at odds with most of the died in the wool traditionalists), I particularly enjoyed the parts about modern opera, which opened my eyes to where the art form is going and why I should give it a chance.
Recommended for anyone who’s curious about opera, and those who love it.
January 22, 2026
I loved this book so much. As someone who spends a lot of energy trying to persuade people to attend or fund opera, this was therapy for my weary opera soul. But this is no ordinary hot take. Vincent brings an engaging writing style and wit along with her background in singing. It contained blessedly little navel-gazing, except when the personal descriptions served to illustrate the nitty gritty of the industry. Her hour by hour description of going to a New York audition was spot-on. (Singers may be triggered, but they should also feel validated.) Perfectly balanced in concrete research, anecdotes and personal stories, the book is a great summary of the history of opera, the racial and sexist baggage it carries, and where opera finds itself currently with hard financial realities and the struggle to build audiences. It pinpoints the many difficulties in sustaining the commercial enterprise and in the career of being an opera singer, in which the odds resemble getting into professional sports. Vincent poignantly captures the grief singers can experience from what feels like a failed career. It was incredibly refreshing to read something where the author clearly knew all the ins and outs of opera but did not whitewash the problems both historically and today.
Everyone should at least read chapter six, “The Company.” Academia is where singers usually are prepared for the real world, but the school experience is often out of touch with the economic realities. Many who haven’t been in the administrative side of companies don’t understand the financial pressures and balancing acts of trying to please so many people with different assets, whether artistic or financial. Clearly there is a gap between the industry and the vast numbers of people who have never even been to an opera.
While I loved every single chapter, my favorite part was her description of opera programming as being like planning a meal. I was comforted to find I was not the only person who has compared new music to cruciferous vegetables that might be daunting to some audiences. The last chapter gave hope for what could help opera survive, showing that more open-mindedness would help simmer some of the wars that rarely help the current status. We usually grant people to each his own if they want a yummy pizza for dinner rather than a five-course French traditional restaurant experience, and yet we are much quicker to cast judgment on someone who doesn’t share our musical culinary habits.
I would love for Vincent to write a sequel, and I’ll be the first to preorder. Perhaps title it “Revenge of the Soprano” and explore how opera can adapt to our brave new world of screens, the attention economy, how it can gain new audiences, compete with Taylor Swift, and how singers can have creative careers that both use their talents and are financially sustainable. There are lots of success stories out there, especially when one redefines the metrics of success. Many industries are in crisis with our new internet capabilities, so opera isn’t alone in this regard. But for all the gravestones of failed opera companies, there are baby opera singers being trained and voices that need to be heard. When it works, nothing competes with a live opera where all the elements come together into an unforgettable experience. I’ll never forget the feeling I had when I heard Denyce Graves sing an aria from Samson and Delilah. I’ll never forget the music of Dead Man Walking. I’ll never stop listening to Maria Callas.
I’ll be giving this book to lots of people, both opera lovers and skeptics. Vincent gently advocates for a great open-mindedness about what opera actually can be, that it’s ok to not like every opera and that it’s ok when an opera fails. Since its beginning opera has continued to adapt and reform. If it continues to do so perhaps it will survive.
Everyone should at least read chapter six, “The Company.” Academia is where singers usually are prepared for the real world, but the school experience is often out of touch with the economic realities. Many who haven’t been in the administrative side of companies don’t understand the financial pressures and balancing acts of trying to please so many people with different assets, whether artistic or financial. Clearly there is a gap between the industry and the vast numbers of people who have never even been to an opera.
While I loved every single chapter, my favorite part was her description of opera programming as being like planning a meal. I was comforted to find I was not the only person who has compared new music to cruciferous vegetables that might be daunting to some audiences. The last chapter gave hope for what could help opera survive, showing that more open-mindedness would help simmer some of the wars that rarely help the current status. We usually grant people to each his own if they want a yummy pizza for dinner rather than a five-course French traditional restaurant experience, and yet we are much quicker to cast judgment on someone who doesn’t share our musical culinary habits.
I would love for Vincent to write a sequel, and I’ll be the first to preorder. Perhaps title it “Revenge of the Soprano” and explore how opera can adapt to our brave new world of screens, the attention economy, how it can gain new audiences, compete with Taylor Swift, and how singers can have creative careers that both use their talents and are financially sustainable. There are lots of success stories out there, especially when one redefines the metrics of success. Many industries are in crisis with our new internet capabilities, so opera isn’t alone in this regard. But for all the gravestones of failed opera companies, there are baby opera singers being trained and voices that need to be heard. When it works, nothing competes with a live opera where all the elements come together into an unforgettable experience. I’ll never forget the feeling I had when I heard Denyce Graves sing an aria from Samson and Delilah. I’ll never forget the music of Dead Man Walking. I’ll never stop listening to Maria Callas.
I’ll be giving this book to lots of people, both opera lovers and skeptics. Vincent gently advocates for a great open-mindedness about what opera actually can be, that it’s ok to not like every opera and that it’s ok when an opera fails. Since its beginning opera has continued to adapt and reform. If it continues to do so perhaps it will survive.
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February 6, 2026Mini Audiobook Review: Thank you so much Scribner for the complimentary free book!
Thank you so much to Simon Audio for the complimentary ALC!
This book is out now!
"Opera is sung theater."
When I saw this title and cover, I knew I had to have it! Just about all of my non fiction reads are all pop culture related. I consider this pop culture adjacent because its about music. I have absolutely no knowledge of opera besides very surface level. I have never known the history of opera and this book had so much info! I don't necessarily think you need to know about Opera to understand what the author was saying but I feel like maybe having a smidge would help. I primarily read this one with the audio (having the book close by) and I thought narrator Jennifer Jill Araya did such a wonderful job! She made the listening go by really quick and engaging. I thought the author did a good job with the pacing of going from the beginning to the current struggles with opera.
It's one of those genres that you don't necessarily here a lot about. When was the last time you heard someone say "I'm going to the opera." The author mentions a slight surge due to a Tik Tok video going viral (sadly I don't recall this appearing on my algorithm) so that is exciting to hear! The author may not be sure if she likes Opera but she sure knows a lot about and put a lot of time and research into this book.
I recommend this if you always wanted to know about Opera! There are so many wonderful reviews about this book.
*I do not rate NF books*
Thank you so much to Simon Audio for the complimentary ALC!
This book is out now!
"Opera is sung theater."
When I saw this title and cover, I knew I had to have it! Just about all of my non fiction reads are all pop culture related. I consider this pop culture adjacent because its about music. I have absolutely no knowledge of opera besides very surface level. I have never known the history of opera and this book had so much info! I don't necessarily think you need to know about Opera to understand what the author was saying but I feel like maybe having a smidge would help. I primarily read this one with the audio (having the book close by) and I thought narrator Jennifer Jill Araya did such a wonderful job! She made the listening go by really quick and engaging. I thought the author did a good job with the pacing of going from the beginning to the current struggles with opera.
It's one of those genres that you don't necessarily here a lot about. When was the last time you heard someone say "I'm going to the opera." The author mentions a slight surge due to a Tik Tok video going viral (sadly I don't recall this appearing on my algorithm) so that is exciting to hear! The author may not be sure if she likes Opera but she sure knows a lot about and put a lot of time and research into this book.
I recommend this if you always wanted to know about Opera! There are so many wonderful reviews about this book.
*I do not rate NF books*
January 13, 2026
They say narrow keys open wide doors, and so it is with Caitlin Vincent’s brilliant, irreverent, gripping Opera Wars.
She does, of course, focus on the world of opera, but the issues she raises apply more broadly to almost any creative endeavor from ballet, to painting, to novel-writing, and more. How much can even the most talented artists devote themselves to their craft in the materialist societies we live in?
Vincent’s own life story runs as a thread throughout the book, giving readers an insider’s view of the operatic world. She’s an award-winning soprano, a sought-after librettist, founder of an opera company, and an academic specializing in creative industries at a top-flight university. I’ve never been to an opera. Didn’t matter. I raced through the book in less than a day.
While no opera buff, I am a baseball fan. At times, Opera Wars reminded me of Jim Bouton’s classic Ball Four which exposed the obsessions, manias, and dirty secrets that bubble behind baseball stadium dugouts. Vincent swings open the doors of the venues where operas are performed from local churches, to college theaters, and even to Lincoln Center to show us the same kind of passions and pressures smoldering inside.
Oh, did I mention that the book is at times laugh-out-loud funny?
If you care about opera, the arts more broadly, human obsessions, or simply riveting prose, I highly recommend that you enlist in reading Opera Wars.
She does, of course, focus on the world of opera, but the issues she raises apply more broadly to almost any creative endeavor from ballet, to painting, to novel-writing, and more. How much can even the most talented artists devote themselves to their craft in the materialist societies we live in?
Vincent’s own life story runs as a thread throughout the book, giving readers an insider’s view of the operatic world. She’s an award-winning soprano, a sought-after librettist, founder of an opera company, and an academic specializing in creative industries at a top-flight university. I’ve never been to an opera. Didn’t matter. I raced through the book in less than a day.
While no opera buff, I am a baseball fan. At times, Opera Wars reminded me of Jim Bouton’s classic Ball Four which exposed the obsessions, manias, and dirty secrets that bubble behind baseball stadium dugouts. Vincent swings open the doors of the venues where operas are performed from local churches, to college theaters, and even to Lincoln Center to show us the same kind of passions and pressures smoldering inside.
Oh, did I mention that the book is at times laugh-out-loud funny?
If you care about opera, the arts more broadly, human obsessions, or simply riveting prose, I highly recommend that you enlist in reading Opera Wars.
January 16, 2026
Thanks to Scribner and Netgalley for this advance copy! Disclaimer: I know the author and have performed with her in the past.
Caitlin Vincent's Opera Wars is the book I wish I had when I first started going to the opera as an adult. Her fantastic description and dissection of the different parts that come together to make this extraordinary art form is both detailed and accessible; her prose has a friendly but knowledgeable style that brings the reader into a world that is easily described as exclusive and opens it in a way that few get to see. What I loved about this book was that the author didn't assume the reader was an opera aficionado, but also didn't condescend to them. Instead, she brings everyone along with just enough information to make the point, directing the reader to more information if they need it. Her focus on contemporary opera as well as classical is refreshing, and she calls out opera companies to do better with their programming choices, including issues with black and yellow face, while also praising them when they make better choices and acknowledging that they are doing all of this in a tight financial climate.
I think people new to opera, as well as seasoned professionals, will find this book a delight. Vincent's writing is joyful and fair to those she holds to task. If ever anyone has said, "I wish I knew more about opera," this is the book for them.
Caitlin Vincent's Opera Wars is the book I wish I had when I first started going to the opera as an adult. Her fantastic description and dissection of the different parts that come together to make this extraordinary art form is both detailed and accessible; her prose has a friendly but knowledgeable style that brings the reader into a world that is easily described as exclusive and opens it in a way that few get to see. What I loved about this book was that the author didn't assume the reader was an opera aficionado, but also didn't condescend to them. Instead, she brings everyone along with just enough information to make the point, directing the reader to more information if they need it. Her focus on contemporary opera as well as classical is refreshing, and she calls out opera companies to do better with their programming choices, including issues with black and yellow face, while also praising them when they make better choices and acknowledging that they are doing all of this in a tight financial climate.
I think people new to opera, as well as seasoned professionals, will find this book a delight. Vincent's writing is joyful and fair to those she holds to task. If ever anyone has said, "I wish I knew more about opera," this is the book for them.
January 30, 2026
Opera Wars is an excellent book for a very niche audience, and will probably make little sense or hold little interest for the other 90% of the world. I am glad to have been a part of that very niche audience.
I am an opera novice, in that I have only seen 4 in my life, and all of those within the last 4 years. But, I love art in most forms, am married to a music snob, and thoroughly enjoy learning intricate details about How Things Work. So, I was enthralled with digging deep behind the scenes of how an opera comes to be and what is involved in the eternal struggle to "make it" in Opera World.
The Wars part of the title included deep dives into the struggles over artistic control of an individual production, as well as the future of the art form in general. Regarding the latter, as someone who has no interest in seeing only Carmen and the other "Cannon" 10 times, I clearly fall into the camp of "Write new operas!" But, I understand the huge financial risk of putting together an insanely expensive piece of art, only to have the deep-pocketed traditionalists turn up their noses.
I'm glad I was able to read such a thoroughly-researched and -lived viewpoint on an art form I have recently discovered.
High recommend for opera buffs and adjacent
I am an opera novice, in that I have only seen 4 in my life, and all of those within the last 4 years. But, I love art in most forms, am married to a music snob, and thoroughly enjoy learning intricate details about How Things Work. So, I was enthralled with digging deep behind the scenes of how an opera comes to be and what is involved in the eternal struggle to "make it" in Opera World.
The Wars part of the title included deep dives into the struggles over artistic control of an individual production, as well as the future of the art form in general. Regarding the latter, as someone who has no interest in seeing only Carmen and the other "Cannon" 10 times, I clearly fall into the camp of "Write new operas!" But, I understand the huge financial risk of putting together an insanely expensive piece of art, only to have the deep-pocketed traditionalists turn up their noses.
I'm glad I was able to read such a thoroughly-researched and -lived viewpoint on an art form I have recently discovered.
High recommend for opera buffs and adjacent
January 26, 2026
I'm going to be real with you for a second. I've never actually seen an opera.
Unless you count Gilbert & Sullivan as opera (though the specificsts among us would likely term them 'operetta' or 'light opera') which if you do, I've not only seen multiple operas, but I've sung in them and directed them. I was even in charge of publicity and marketing for an opera company. But I've never seen a "proper" opera. The canon, as Vincent terms it in this excellent book that explores the history of the art form, where it is now, and where it's headed. I know people trying to make a living as professional opera singers and who are working in the industry. This book made me want to give them a hug.
What was particularly fascinating was how many parallels there are between my chosen career path - professional writer - and the singers. Hearing about the endless hustling, the networking, the hoping, the fighting for a handful of places just to get some recognition - I was getting war flashbacks. Even if you don't think you like opera, I recommend this book. The passion and knowledge of the author is well worth checking it out. And great timing for me to go to the ENO on Saturday!
Unless you count Gilbert & Sullivan as opera (though the specificsts among us would likely term them 'operetta' or 'light opera') which if you do, I've not only seen multiple operas, but I've sung in them and directed them. I was even in charge of publicity and marketing for an opera company. But I've never seen a "proper" opera. The canon, as Vincent terms it in this excellent book that explores the history of the art form, where it is now, and where it's headed. I know people trying to make a living as professional opera singers and who are working in the industry. This book made me want to give them a hug.
What was particularly fascinating was how many parallels there are between my chosen career path - professional writer - and the singers. Hearing about the endless hustling, the networking, the hoping, the fighting for a handful of places just to get some recognition - I was getting war flashbacks. Even if you don't think you like opera, I recommend this book. The passion and knowledge of the author is well worth checking it out. And great timing for me to go to the ENO on Saturday!
Review of advance copy received from Netgalley
You don’t have to be a diehard opera fan to appreciate this book. Informative, engaging and thought-provoking, it dissects every aspect of this art form and looks into every controversy surrounding it. And does it with adequate panache. As a former opera singer and active librettist, she clearly loves her theme - but in a very mature way. As she writes in the preface:
„Consider this book a quest—if not a rescue attempt—whose first step is kicking away the pedestal and shining a spotlight on the reality of opera as it exists today. From battles over tradition, to tensions over casting, to conflicts over funding, we’ll scrape away all the clichés and presumptions, all the superficial glamour and seeming snobbery, until we can finally gaze at the true beating heart of this hot mess of an art form”.
You will learn a lot from this book but thanks to the witty, conversational style of the author you will not feel overwhelmed. Very original and interesting work.
Thanks to the publisher, Scribner, and NetGalley for an advanced copy of this book.
„Consider this book a quest—if not a rescue attempt—whose first step is kicking away the pedestal and shining a spotlight on the reality of opera as it exists today. From battles over tradition, to tensions over casting, to conflicts over funding, we’ll scrape away all the clichés and presumptions, all the superficial glamour and seeming snobbery, until we can finally gaze at the true beating heart of this hot mess of an art form”.
You will learn a lot from this book but thanks to the witty, conversational style of the author you will not feel overwhelmed. Very original and interesting work.
Thanks to the publisher, Scribner, and NetGalley for an advanced copy of this book.
January 14, 2026
As a growing opera fan who goes to my local opera festival every year, I really loved this book. I’m still learning my way around the art form, and this felt like the perfect mix of education and entertainment. I learned a ton, but the writing was also genuinely fun, engaging, and easy to sink into.
What I appreciated most was the book’s honest and thoughtful take on how deeply complicated and often problematic opera can be. It doesn’t shy away from why the art form struggles to evolve, especially when it comes to issues like sizeism, racism, and long-standing patriarchal systems. At the same time, it made a strong case for why opera is such an interesting lens for understanding how culture as a whole grapples with social change.
This book made me think more deeply about an art form I already enjoy, without making me feel defensive or talked down to. I’d recommend it to anyone interested in opera, as well as anyone curious about how art reflects (and resists) the issues of the world around it.
Thank you Netgalley and Scribner for the ARC.
What I appreciated most was the book’s honest and thoughtful take on how deeply complicated and often problematic opera can be. It doesn’t shy away from why the art form struggles to evolve, especially when it comes to issues like sizeism, racism, and long-standing patriarchal systems. At the same time, it made a strong case for why opera is such an interesting lens for understanding how culture as a whole grapples with social change.
This book made me think more deeply about an art form I already enjoy, without making me feel defensive or talked down to. I’d recommend it to anyone interested in opera, as well as anyone curious about how art reflects (and resists) the issues of the world around it.
Thank you Netgalley and Scribner for the ARC.
January 25, 2026
Enter the world of Opera and the many ups and downs as what most see as an art form, but what is really a delicate balance of a business. The author takes you through all the facets of being a student trying to become that much admired and adored soprano to the nail biting Opera House selecting the next seasons performances weighed against the financial balance sheet. As someone who was brought up in the Opera World, my father was a choral instructor at a major university, listening to the Saturday Live from the Met, this was an eye opener for me. I do enjoy what the author refers to as "modern opera" mainly because COVID provided free performances on streaming. Akhnaten by Philip Glass was mesmerizing with the jugglers and the historical storyline was one that I had not previously know and triggered some research on my part. My recommendation is to see a new Opera, one that has been written since 1940, you might be surprised. My second recommendation would be to read the book and don't be afraid of any opera.
February 5, 2026
An informative and fascinating look into the world of Opera and how truly unsustainable the art is becoming.
It always makes me sad to see any of the arts struggling, and it’s a particular problem in America, where culture and government don’t provide proper support for arts programs and industries.
Opera is particularly tough: it’s both extraordinarily expensive and difficult to sell to a general audience. Additional issues of working conditions and compensation that send talent in other directions professionally and problematic staging issues in the modern world make it all the more difficult for Opera to survive as it is and perhaps even harder for it to find a way to evolve.
This book does a terrific job of explaining both the basics of Opera if you’re new to the topic and also what the industry is struggling with. Some of the issues plaguing Opera feel more valid than others, but all are a piece of the puzzle in terms of where the art finds itself today and where it might go in the future.
*I received an ARC of this book in exchange for an honest review.*
It always makes me sad to see any of the arts struggling, and it’s a particular problem in America, where culture and government don’t provide proper support for arts programs and industries.
Opera is particularly tough: it’s both extraordinarily expensive and difficult to sell to a general audience. Additional issues of working conditions and compensation that send talent in other directions professionally and problematic staging issues in the modern world make it all the more difficult for Opera to survive as it is and perhaps even harder for it to find a way to evolve.
This book does a terrific job of explaining both the basics of Opera if you’re new to the topic and also what the industry is struggling with. Some of the issues plaguing Opera feel more valid than others, but all are a piece of the puzzle in terms of where the art finds itself today and where it might go in the future.
*I received an ARC of this book in exchange for an honest review.*
February 6, 2026
Loved the book. I am an opera fan but had never considered many issues, such as the changing importance of librettists, composers, conductors, and directors; the timeframe involved in staging and rehearsing a new opera; and the challenges of addressing gender and racial aspects in the operatic world given its history. Less new to me was the difficult path of an opera singer—it turns out I had imagined this quite close to reality. The funding of opera is a necessary but sad chapter. I especially appreciated the chapter dedicated to new opera: I am always curious to experience works outside the canon. Although I have seldom heard/seen truly melodic contemporary operas, they tend to use other means to convey emotions and feelings behind the plot. There may be no tunes to hum afterward, but the overall impression is strangely powerful. Isn’t it the ultimate task of music (and especially opera) to surprise, impress, and inspire?
Review of advance copy received from Publisher
A lovely read on the various battlegrounds across opera. I enjoyed the structure and critiques on how the art form is battling for it's future across many fronts - interspaced with the author's experiences within the world of opera.
More commentary than history, this is an extremely approachable book, and would feel familiar for anyone who has experienced the arts, not just opera fans!
More commentary than history, this is an extremely approachable book, and would feel familiar for anyone who has experienced the arts, not just opera fans!
January 26, 2026
I’ll be honest, I mostly asked for this ARC cause my girlfriend loves opera. I know next to nothing. But wow, learning the inner machinations, strict traditions, and drama through this book was fascinating. Who knew that changing the ending could result in near riots? This book is great for those like me getting into opera. A fun read
thank you to netgalley!
thank you to netgalley!
January 21, 2026
25% opera inner workings
15% unintentionally unfunny
60% identity politics
15% unintentionally unfunny
60% identity politics
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