What do you think?
Rate this book
A Night at the Opera: An Irreverent Guide to The Plots, The Singers, The Composers, The Recordings (Modern Library
“Delightful and anti-reverential”— Sunday Times (London)
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 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 subtitles.
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.
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 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 subtitles.
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.
976 pages, Paperback
First published January 1, 1995
136 people are currently reading
406 people want to read
About the author
Denis Forman
15 books3 followersSir Denis Forman was the British Director (1949–1954) and later Chair (1971–1973) of The British Film Institute.
Educated at Pembroke College, Cambridge, Forman had a distinguished military career during the war before moving into the film and television industry. He was Director (1949-1954) and later Chair (1971-1973) of The British Film Institute.[1] He was Chairman and Managing Director of Granada Television, and also for nine years the deputy chairman of the Royal Opera House in Covent Garden in London.
Educated at Pembroke College, Cambridge, Forman had a distinguished military career during the war before moving into the film and television industry. He was Director (1949-1954) and later Chair (1971-1973) of The British Film Institute.[1] He was Chairman and Managing Director of Granada Television, and also for nine years the deputy chairman of the Royal Opera House in Covent Garden in London.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 32 reviews
August 21, 2021
This big brick of a book, published in the U.K. in 1994, first appeared as THE GOOD OPERA GUIDE. It was released in the USA in 1998 and called A NIGHT AT THE OPERA (no confusion with the 1935 Marx Bros. movie). It holds 84 operas spread out over 959 pages, chronologically everything from DIDO AND AENEAS to PORGY AND BESS. Each chapter discusses an opera's creation and reception with more or less ample notes about the work, what to look out for, and why, in Sir Denis' opinion, it might rate an "alpha-plus" (THE MARRIAGE OF FIGARO, TOSCA) down to a mere "gamma" (LAKME, SUOR ANGELICA). The book also contains biographical notes.
Some remarks:
Nobody is better than Sir Denis at discussing top operas, at least the ones that find favor with him. In his hands, this book promises a healthy dose of "irreverence" and it's generally a pleasure to read. However, sometimes the "irreverence" degenerates into mere facetiousness, as when plot details are replaced with anachronistic joshing -- 20th-Century references to the sleep aid Soneryl, say, or Tesco, or the European Motorway system.
For a book that's barely 30 years old, there are a number of worthy operas that didn't make the grade. How about TALES OF HOFFMAN (1881), with its delightful "Barcarolle," or more recently Scott Joplin's TREEMONISHA (1884; revised 1975), or Poulenc's CARMELITE DIALOGUES (1957)? I would happily substitute any of them for an older gamma-class opera.
Still, while A NIGHT AT THE OPERA is not flawless it is well worth having, especially used.
FROM THE BOOK:
"If you hear [Handel's arias] over and over they begin to grow on you. Soon you will give in to the subtlety and charm of Handel's art and may, unless you are careful, become a Handel addict, and from there it is a short run to becoming a Handel bore." (p. 309)
Some remarks:
Nobody is better than Sir Denis at discussing top operas, at least the ones that find favor with him. In his hands, this book promises a healthy dose of "irreverence" and it's generally a pleasure to read. However, sometimes the "irreverence" degenerates into mere facetiousness, as when plot details are replaced with anachronistic joshing -- 20th-Century references to the sleep aid Soneryl, say, or Tesco, or the European Motorway system.
For a book that's barely 30 years old, there are a number of worthy operas that didn't make the grade. How about TALES OF HOFFMAN (1881), with its delightful "Barcarolle," or more recently Scott Joplin's TREEMONISHA (1884; revised 1975), or Poulenc's CARMELITE DIALOGUES (1957)? I would happily substitute any of them for an older gamma-class opera.
Still, while A NIGHT AT THE OPERA is not flawless it is well worth having, especially used.
FROM THE BOOK:
"If you hear [Handel's arias] over and over they begin to grow on you. Soon you will give in to the subtlety and charm of Handel's art and may, unless you are careful, become a Handel addict, and from there it is a short run to becoming a Handel bore." (p. 309)
April 14, 2008
This is a great reference book for opera listeners. First of all, it is funny, which is a nice relief from people used to reading Kobbe's or Grove. The humor makes plot points easier to remember, and Forman does a nice job of giving background information as well. Listening guide can be spot on or not helpful, depending on the work. The extra stuff is great, just for all the humor it contains. His descriptions of some of the composers are hilarious, and his knowledge of the "backstage" aspects of opera make for interesting descriptions of singers, conductors, and all the other people who go into making an opera.
January 21, 2008
Perfect for finding those operas with songs remembered from Bugs Bunny cartoons. I'm not kidding.
April 30, 2021
Un libro de referencia sobre las óperas más famosas; me encanta la ópera pero justamente no el estilo de las óperas italianas más famosas, así que me salteé algunas, digamos la mayoría. De todos modos es un índice alfabético así que no creo que la intención del autor sea leerlo secuencialmente.
Los chistes que hace sobre las tramas y contar el argumento así todo seguido y sin comas porque quiero ser divertido y desestructurado a la vez que muestro mi conocimiento enciclopédico a estos legos teléfono para Mozart que lo sufrió en vida... Puf. Si, está escrito así, en frases largas seudo ingeniosas que terminan cansando. No me hizo gracia.
Lo mejor es cuando habla en serio sobre contexto histórico, términos específicos y teoría en general. Creo que si el libro hubiera estado todo en ese tono serio lo hubiera disfrutado más. Y si hubiera habido más óperas antiguas que son de mi interés, y menos Verdi y Wagner, pero es mucho pedir.
Los chistes que hace sobre las tramas y contar el argumento así todo seguido y sin comas porque quiero ser divertido y desestructurado a la vez que muestro mi conocimiento enciclopédico a estos legos teléfono para Mozart que lo sufrió en vida... Puf. Si, está escrito así, en frases largas seudo ingeniosas que terminan cansando. No me hizo gracia.
Lo mejor es cuando habla en serio sobre contexto histórico, términos específicos y teoría en general. Creo que si el libro hubiera estado todo en ese tono serio lo hubiera disfrutado más. Y si hubiera habido más óperas antiguas que son de mi interés, y menos Verdi y Wagner, pero es mucho pedir.
May 25, 2020
Awfully entertaining, good leisure reading with or without reference to the actual operas.
April 21, 2012
A Night at the Opera is simultaneously a perfect compendium of information and a hilarious exercise in style. If you have room for only one opera book, get this one. Dozens of the most-performed operas are described. The plots are given a breezy synopsis, the music’s fine points are described, and gossip about the composer is given. You can also find descriptions of audience types, conductors, and much more. I read my paperback copy so often that it fell apart. I had to get a hardback for the next ten years of hard duty. Do yourself a favor and acquire this classic.
September 24, 2008
This is my FAVORITE opera reference book. It is informative and fun. Full of fun facts and gossip. A must read if you have any curiosity about opera or want some info on an opera you may be preparing to see. Let's face it... we could all use more opera in our lives!!!
February 22, 2012
A must read for opera-lovers!
April 28, 2020
FULL DISCLAIMER - I'm actually not 100% finished, but I don't think this is meant to be read like a typical novel anyways. I think the intention is to pick it up and peruse when one is about to see or has just seen the opera in question. So, I'm rating this based on the operas I read and then experienced, either in live performance or in quarantine marathons:
Aida
Cavalleria Rusticana
Dido and Aeneas
I, Pagliacci
Lakme
Parsifal
Pelleas et Melisande
Salome
The Magic Flute
Turandot
Forman's wit is vivacious. At times acerbic and dry, at times charming and lugubrious, he had me laughing and nodding with the insights he scraped up - like a forensic investigator, finding particles of truth I hadn't even noticed in the debris. I loved the historical tidbits he imparted, too - I had no clue that Turandot was finished by a different composer, or that Cav is so short, it is frequently paired with Pagliacci. I will treasure this book and use it as a reference for years to come (and when the Straz center re-opens and lets me see Aida! Leontyne Price will always be my muse).
Aida
Cavalleria Rusticana
Dido and Aeneas
I, Pagliacci
Lakme
Parsifal
Pelleas et Melisande
Salome
The Magic Flute
Turandot
Forman's wit is vivacious. At times acerbic and dry, at times charming and lugubrious, he had me laughing and nodding with the insights he scraped up - like a forensic investigator, finding particles of truth I hadn't even noticed in the debris. I loved the historical tidbits he imparted, too - I had no clue that Turandot was finished by a different composer, or that Cav is so short, it is frequently paired with Pagliacci. I will treasure this book and use it as a reference for years to come (and when the Straz center re-opens and lets me see Aida! Leontyne Price will always be my muse).
Read
June 15, 2022 Nice style of writing, compelling both for theatre workers, even opera singers and general public. Excellent composition of the book. The book itself is very applicable. It was really well written with high appreciation of art, opera and theatre and a hidden knowledgable insight. It is a detailed, compelling book. And in my opinion, one of the few books that will for many reasons stand the test of time. A lot of love and effort was put into it. Congrats!
November 28, 2024
Knocking off a star because of the unacceptable lack of Russian operas (lol)
A must-read for any opera afficionado. Forman's commentary and charming summaries of the opera plots are zany, insightful, and balanced all at once.
A must-read for any opera afficionado. Forman's commentary and charming summaries of the opera plots are zany, insightful, and balanced all at once.
January 25, 2022
Even the glossary at the end is entertaining - thanks to this book, I may even like an opera or two, or at least I'll go see some.
September 13, 2022
Amazing reference book to read about an opera before seeing it. Enhances the experience.
February 10, 2020
I’ve been reading this book for a month or so--it is night-table rather than coffee-table–-never without laughter. In structure its 955 pages are encyclopedic rather than narrative, with sections on the operas, composers, singers and a lexicon of “Operatica" that ranks in wit with the dictionaries of Flaubert and Bierce. That wit pervades the work from the Marxist title to the Acknowledgments (the Index is not quite so funny, but then, so few are). Sir Denis has a vast knowledge of the operatic canon and carries his learning very lightly indeed. He also has, as deputy chair of the Royal Opera House, extensive experience behind the curtains, and, as the aphorism goes, “No man is a hero to his valet.” His great love of opera is seasoned with a sharp sense of its endless absurdities. This classic is recommended to all operaphiles–and even operaphobes.
February 16, 2024
I have not read this book cover to cover as that is not the way in which it's useful. Husband and I are newbies when it comes to opera and we both find that we get more out of seeing one if we've done our homework first. Read a synopsis and if possible listen to the music.
This book is excellent for this purpose. There's a cast of characters, a thorough synopsis written in a humourous style and also some comments on things in particular one might look out for in the music. It's very helpful.
This book is excellent for this purpose. There's a cast of characters, a thorough synopsis written in a humourous style and also some comments on things in particular one might look out for in the music. It's very helpful.
July 11, 2021
I love this book!
My favorite thing is how the author includes the ‘look out for’ part, containing quite detailed insights in each scene and aria.
It’s written in such a casual and funny way. It’s my constant companion when streaming an opera online.
One thing that might be a lesser factor would be how I find the writing style, especially the sentence constructions, to be somewhat messy
My favorite thing is how the author includes the ‘look out for’ part, containing quite detailed insights in each scene and aria.
It’s written in such a casual and funny way. It’s my constant companion when streaming an opera online.
One thing that might be a lesser factor would be how I find the writing style, especially the sentence constructions, to be somewhat messy
those_that_do_not_end
August 1, 2014A good reference book for operas, just what a person who starts digging into the great banquette needs. It gives enough plot summary and comments on the music and miscellaneous background trivias to get one started. I have this rhythmn of picking an opera in random, find a production I like the most and put it in a loop ad nauseum for a long span of time before moving on to the next one; familiarizing myself with the plot & libretto (specially those pesky italian ones, i can understand the germans quite easily), obsessing and adoring some parts in turns, mooning over the barritones (bryn terfel! d'arcangelo! keenlyside!); so the book format suits me just well. So far I've only been adoring the easier operas, (Mozart's buffo and singspiel, Wagner's easy Meistersinger; the italian melodrama feels to me a bit, well, melodramatic, dying for love or in love and so on) and this book will comes very handy.
I'd rather read the summary somewhere else, though. It's not that I'm especially reverent about opera, after all it's entertainment like any other, and there's a reason why those mammoth tv dramas inherits the name soap opera. But, I tend to have a limit on tounge-in-the-cheek tolerance and Forman's language on the summary is slightly beyond that limit, grazing over-the-top most of the time.
The part I like the most is his simple analysis on the music, or what he called "what to watch for". I don't pay much attention to his minute mark, since I've been reading only operas that I've been digesting I can navigate from his narration cue. He sure can describe music. I found myself reading & re-listening parts that he described for the fun of getting to know something better. Mozart's each character's private tune, Wagner's thematic tune; I'm learning something new everyday. :D
Background comments is of course always fun to read. Though he predictably went the Jew/Hitler way on Meistersinger; but this is only a personal peeve of mine. I want to find more opera comment published before WW to see if the boil was noticed even then. So far I've only read Kehrbiel's which was first published on 1910, and though he dug and commented more extensively on Meistersinger compared to other operas in his book, he didn't mention anything about Jew. He only commented that Wagner was being rather unfair to Beckmesser as the then surviving archives (is it still available now after 2 wars?) showed him as an equal Meistersinger to Hans Sach. But, Kehrbiel seems to put it on artistic and dramatic license, to spice it more, as they say; instead of deliberate malice towards the race.
Also highly appreciated is the role listing which one doesn't always find on wiki. I had never thought I have it in me to be having fun identifying vocal range.
That's it, don't waste your time reading this review or even the book before listening to some opera. Sometimes only by going in blindly can one find something one really loves.
I'd rather read the summary somewhere else, though. It's not that I'm especially reverent about opera, after all it's entertainment like any other, and there's a reason why those mammoth tv dramas inherits the name soap opera. But, I tend to have a limit on tounge-in-the-cheek tolerance and Forman's language on the summary is slightly beyond that limit, grazing over-the-top most of the time.
The part I like the most is his simple analysis on the music, or what he called "what to watch for". I don't pay much attention to his minute mark, since I've been reading only operas that I've been digesting I can navigate from his narration cue. He sure can describe music. I found myself reading & re-listening parts that he described for the fun of getting to know something better. Mozart's each character's private tune, Wagner's thematic tune; I'm learning something new everyday. :D
Background comments is of course always fun to read. Though he predictably went the Jew/Hitler way on Meistersinger; but this is only a personal peeve of mine. I want to find more opera comment published before WW to see if the boil was noticed even then. So far I've only read Kehrbiel's which was first published on 1910, and though he dug and commented more extensively on Meistersinger compared to other operas in his book, he didn't mention anything about Jew. He only commented that Wagner was being rather unfair to Beckmesser as the then surviving archives (is it still available now after 2 wars?) showed him as an equal Meistersinger to Hans Sach. But, Kehrbiel seems to put it on artistic and dramatic license, to spice it more, as they say; instead of deliberate malice towards the race.
Also highly appreciated is the role listing which one doesn't always find on wiki. I had never thought I have it in me to be having fun identifying vocal range.
That's it, don't waste your time reading this review or even the book before listening to some opera. Sometimes only by going in blindly can one find something one really loves.
February 17, 2015
This book is a fantastic resource for any new or experienced opera lover.
The majority of the book consists of overviews of most commonly performed operas. Each overview covers the characters, a scene-by-scene breakdown of the story, then another breakdown of what to listen for if you are listening to the opera rather than seeing it performed. (I found this very useful as I have a few operas on CD and it helps me pinpoint where I am in the opera, what is happening, and what to look forward to). Then, some brief stats on the opera, such as the first performance and original reception, followed by "News and Gossip" which typically provided more information on how the opera originated and was received. Lastly, the author gives his own comments and an overall rating of that particular opera (Alpha to Gamma)..
The remainder of the book explains basic opera concepts; highlights key composers, conductors, and singers; and provides a glossary.
What I enjoyed most about this book is how accessible it is, regardless of level of knowledge. Everything is explained in detail without being pompous or scholarly. Operatic terms are used, but everything is defined clearly in the glossary or in the operatica section. The tone is friendly and casual, although some of the plot summaries were a little too tongue-in-cheek or jokey, to the point that it was difficult to tell what was really in the opera and what was not. However, after reading a few, I found I got used to the language and could tell when the author was cracking a joke.
Overall, I found that this book contained everything I wanted to know and I would recommend it for anyone looking to learn more about opera.
The majority of the book consists of overviews of most commonly performed operas. Each overview covers the characters, a scene-by-scene breakdown of the story, then another breakdown of what to listen for if you are listening to the opera rather than seeing it performed. (I found this very useful as I have a few operas on CD and it helps me pinpoint where I am in the opera, what is happening, and what to look forward to). Then, some brief stats on the opera, such as the first performance and original reception, followed by "News and Gossip" which typically provided more information on how the opera originated and was received. Lastly, the author gives his own comments and an overall rating of that particular opera (Alpha to Gamma)..
The remainder of the book explains basic opera concepts; highlights key composers, conductors, and singers; and provides a glossary.
What I enjoyed most about this book is how accessible it is, regardless of level of knowledge. Everything is explained in detail without being pompous or scholarly. Operatic terms are used, but everything is defined clearly in the glossary or in the operatica section. The tone is friendly and casual, although some of the plot summaries were a little too tongue-in-cheek or jokey, to the point that it was difficult to tell what was really in the opera and what was not. However, after reading a few, I found I got used to the language and could tell when the author was cracking a joke.
Overall, I found that this book contained everything I wanted to know and I would recommend it for anyone looking to learn more about opera.
July 9, 2014
Highly entertaining collection of opera stories. It is very well organized, with short "capsules" for whoever just wants to know the general nature of each opera, as well as a more thorough description for those who want the full story. Many amusing anecdotes. Seasoned opera lovers as well as newcomers will find something of value. It's an excellent reference work, allowing you to look up each opera whenever you want to learn more about it. It has by far the largest collection of operas I have ever seen in any book. Highly recommended.
Tony Manera
Tony Manera
February 28, 2020
This Good OPera Guide dates from 1994, so is now a bit outdated when it comes to the reviewed conductors and singers. Also the fashion in opera has changed a bit since then. Grand Opera is back in vogue and there are other operas and composers that are more popular then when Forman wrote his book. But is an amusing tome, different from the serious programme booklets you buy at the opera and good fun to read in preparation to going to a production or afterwards when you can join in on the inside jokes.
December 7, 2010
Recommended in the Music discussions on the Constant Reader board. If the various operas buried deep on my Netflix queue ever manage to reach the top I think this book will be both helpful and fun. Edit 12/5/10: My wife and I have been reading this book in preparation for attending live opera performances this fall (or the HD simulcasts from the Met). It's a fun and very informative book - I strongly recommend it!
November 19, 2010
Best Opera book I've read in years. Even if you don't love opera, you'll love Sir Denis. If you're not a fan, this book will likely get you to see at least one opera, and then, look out. It's addictive. I found that this book even made me laugh when I disagreed so much that it made me mad. That's a good trick.
January 29, 2013
This book is a rare beast -- an amusing reference book. It is a concise, humorous presentation of the plots, histories, and traditions of the most popular operas. I didn't read it cover to cover, but the plots I did read I loved. I'm totally going to keep an eye out for a nice used copy to add to my personal reference collection.
June 24, 2007
Very handy, not snobby. A guide to the stories, the plot, the music highlights, and a little bit of history behind the most famous operas. Good to sit and read while listening to the highlights. A must-read-before-going-to-the-opera, if you don't know much (or anything at all) about it.
January 26, 2025
I really, really enjoyed this from a learning standpoint. I am a classically trained singer, and there are certain operatic arias I have really enjoyed singing. So it was super interesting to read about the operas and the background information and the characters. A really cool book!
May 5, 2011
I read this as research for my novel, My Phantom: The Memoir of Christine Daaé. An invaluable resource on all things opera that will have a home on my bookshelf forever.
May 28, 2012
This is a great light reference book to the most popular operas in performance today. I love the tone and observational style if the author. This stands above the pack.
Read
October 7, 2012Wonderful!
January 11, 2015
All time classic. A fun and informed read for my fellow opera peeps as well as newbies.
Displaying 1 - 30 of 32 reviews