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# A Night at the Opera: An Irreverent Guide to The Plots, The Singers, The Composers, The Recordings (Modern Library (Paperback))

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A Night at the Opera: An Irreverent Guide to The Plots, The Singers, The Composers, The Recordings (Modern Library (Paperback)) [Forman, Sir Denis] on desertcart.com. *FREE* shipping on qualifying offers. A Night at the Opera: An Irreverent Guide to The Plots, The Singers, The Composers, The Recordings (Modern Library (Paperback))

Review: Unique - This guide is one of several books that I purchased to learn about opera (so, beginners, listen up - opera experts go elsewhere). This guide is unique, witty, and entertaining. The "irreverent" style of the synopses is fun at first, but if you read several in a row it can wear thin. Read the synopsis of Adriana Lecouvreur that desertcart furnishes online to see if you appreciate the style - it is fairly typical except that some of the others have more of a British accent. The British slang sometimes goes over my head which means that I miss the point that is being made so cleverly. However, the real plus of the irreverent style is that it helps to cast the story in more contemporary light (which makes suspension of disbelief easier). I like that there are real opinions about the works, not just descriptions. Some guides are so brief and sterile that you don't really get any flavor - not so here, there is flavor everywhere. What you may not be able to tell from the desertcart exerpt is that the four-page synopsis they show for Adriana Lecouvreur is only about half of the coverage of that opera. Following the synopsis is a scene-by-scene description of the action with what to look for at each point, then followed by a news and gossip and a comments section. Very comprehensive. The synopsis is only about half the coverage of each opera. The appendices at the back of the book also are good study material. They include: operatica (an elementary who's who and what's what at the opera house, about 55 pages); composers (brief biographies, about 40 pages); artists (again bios, about 25 pages); and a glossary (about 15 pages). To learn about opera you need several references. This one is so unique that I say you should get it just for variety. Other good considerations: "Opera 101" for the absolutely best overall introductory study of opera in general. "100 Great Operas" for a more garden variety, shorter, simpler, and easier-to-read synopsis of individual operas. I also like the "Rough Guide to Opera". All of these are very different.
Review: Nutty, profound, and extremely enjoyable - Suppose you had an eccentric, British uncle who was absolutely nuts about opera. You're a tyro yourself, so whenever you go CD shopping or attend a live performance, he entertains you with a humorous summary of the libretto (not too hard to do with an opera if it's not "Wozzeck"), tells you which bits to really listen for, and provides a critique of singers. He's an expert---after all he was the deputy chairman of one of England's great opera houses---but he's not a snob. Listen to what he has to say about death in the mystic land of Oprania: "Death is extremely common and has an almost universal characteristic unknown in our world, namely a period of Imminence during which the doomed person suffers a compulsion to sing. There are few known cases in Oprania where death has occurred without an aria, or at least a cavatina, being delivered during Imminence. The period of Imminence for long deaths can last for up to a whole act. Not even decapitation can ensure an aria-free death..." If you think bursting into song at death's door is highly unlikely, listen to what the author--I mean your uncle--has to say about Valentin's death (he was stabbed by Faust with the help of the devil) in Gounod's "Faust:" "Valentin is found dying in the street by a respectful and horrified chorus. He makes the customary brave gestures of a soldier in the face of death and turns on Marguerite [his sister who is Faust's lover] rather nastily (first in recitative and then in a short aria) saying that the only course open to her now is to become a hooker for the rest of her life." Valentin curses his sister and dies, and for all his musical effort is only awarded one star (out of a possible three) by Sir Denis. "Faust" itself is rated a 'beta' (on a scale where 'alpha-plus' is reserved for truly great operas such as "The Marriage of Figaro", and 'gamma or less' for truly forgettable operas such as "La Rondine"). I almost subtracted a star from my review because Sir Denis awarded 'betas' to two of my favorite operas (Handel's 'Caesar' and Verdi's 'Forza'), but "A Night at the Opera" is way too good and funny and idiosyncratic (in the grand style that only British authors seem to be able to carry off) to be anything but a five-star book. The eighty-three operas that were chosen to appear in this book all had three or more versions listed in the "Gramophone" CD catalogue of December 1992, from Cilea's "Adriana Lecouvreur" to Berg's "Wozzeck." Each opera's libretto is lovingly (and somewhat whackily) described. There is a "Look Out For" section that describes and rates the opera's arias, preludes, choruses, intermezzos, etc. with one to three stars. Example: "Si adempia il voler" from Puccini's "Tosca": "The final scene [of Act II]: Scarpia sits down to write the phoney letter of safe conduct to a sweeping melody,** calm but full of menace, giving us a breathing space between the storms past and the storm to come: then the 'kiss of Tosca' [she stabs Scarpia] with all the stops out--and the calm melody plays the scene out (All Rome trembled before him) ending with a sonorous funereal version of Scarpia's theme accompanied by a death rattle of drums. Stupendous." Stupendous, indeed, even though Sir Denis only gives it two stars. The final two sections describing each opera are "News and Gossip"--background on how and why the opera was composed, and "Comment"--the author's summary of where the opera fits in the repertoire (plus any other remarks he chooses to make). This is a grand old book, all 959 pages of it. I read the whole thing, even the penultimate "Words Words Words" dictionary, and the final page of acknowledgements, "Friends, Supporters, Colleagues and Minders." Please, just one more quotation from the final page: "I would like to thank: Bamber Gascoigne for giving me the idea in the first place (and let it be noted that this handsome acknowledgement in no way affects the author's title to 100% of the copyright)." I loved this book and you will too, even if you only have a sneaking fondness for the 'Queen of Music'.

## Technical Specifications

| Specification | Value |
|---------------|-------|
| Best Sellers Rank | #330,099 in Books ( See Top 100 in Books ) #124 in Music Encyclopedias #281 in Music Reference (Books) #835 in Theater (Books) |
| Customer Reviews | 4.6 4.6 out of 5 stars (155) |
| Dimensions  | 6 x 2.15 x 9.2 inches |
| Edition  | Subsequent |
| ISBN-10  | 0375751769 |
| ISBN-13  | 978-0375751769 |
| Item Weight  | 2.25 pounds |
| Language  | English |
| Print length  | 976 pages |
| Publication date  | September 1, 1998 |
| Publisher  | Modern Library |

## Images

![A Night at the Opera: An Irreverent Guide to The Plots, The Singers, The Composers, The Recordings (Modern Library (Paperback)) - Image 1](https://m.media-amazon.com/images/I/81pPGsfUh1L.jpg)

## Customer Reviews

### ⭐⭐⭐⭐⭐ Unique
*by C***T on June 30, 2004*

This guide is one of several books that I purchased to learn about opera (so, beginners, listen up - opera experts go elsewhere). This guide is unique, witty, and entertaining. The "irreverent" style of the synopses is fun at first, but if you read several in a row it can wear thin. Read the synopsis of Adriana Lecouvreur that Amazon furnishes online to see if you appreciate the style - it is fairly typical except that some of the others have more of a British accent. The British slang sometimes goes over my head which means that I miss the point that is being made so cleverly. However, the real plus of the irreverent style is that it helps to cast the story in more contemporary light (which makes suspension of disbelief easier). I like that there are real opinions about the works, not just descriptions. Some guides are so brief and sterile that you don't really get any flavor - not so here, there is flavor everywhere. What you may not be able to tell from the Amazon exerpt is that the four-page synopsis they show for Adriana Lecouvreur is only about half of the coverage of that opera. Following the synopsis is a scene-by-scene description of the action with what to look for at each point, then followed by a news and gossip and a comments section. Very comprehensive. The synopsis is only about half the coverage of each opera. The appendices at the back of the book also are good study material. They include: operatica (an elementary who's who and what's what at the opera house, about 55 pages); composers (brief biographies, about 40 pages); artists (again bios, about 25 pages); and a glossary (about 15 pages). To learn about opera you need several references. This one is so unique that I say you should get it just for variety. Other good considerations: "Opera 101" for the absolutely best overall introductory study of opera in general. "100 Great Operas" for a more garden variety, shorter, simpler, and easier-to-read synopsis of individual operas. I also like the "Rough Guide to Opera". All of these are very different.

### ⭐⭐⭐⭐⭐ Nutty, profound, and extremely enjoyable
*by E***T on July 9, 2002*

Suppose you had an eccentric, British uncle who was absolutely nuts about opera. You're a tyro yourself, so whenever you go CD shopping or attend a live performance, he entertains you with a humorous summary of the libretto (not too hard to do with an opera if it's not "Wozzeck"), tells you which bits to really listen for, and provides a critique of singers. He's an expert---after all he was the deputy chairman of one of England's great opera houses---but he's not a snob. Listen to what he has to say about death in the mystic land of Oprania: "Death is extremely common and has an almost universal characteristic unknown in our world, namely a period of Imminence during which the doomed person suffers a compulsion to sing. There are few known cases in Oprania where death has occurred without an aria, or at least a cavatina, being delivered during Imminence. The period of Imminence for long deaths can last for up to a whole act. Not even decapitation can ensure an aria-free death..." If you think bursting into song at death's door is highly unlikely, listen to what the author--I mean your uncle--has to say about Valentin's death (he was stabbed by Faust with the help of the devil) in Gounod's "Faust:" "Valentin is found dying in the street by a respectful and horrified chorus. He makes the customary brave gestures of a soldier in the face of death and turns on Marguerite [his sister who is Faust's lover] rather nastily (first in recitative and then in a short aria) saying that the only course open to her now is to become a hooker for the rest of her life." Valentin curses his sister and dies, and for all his musical effort is only awarded one star (out of a possible three) by Sir Denis. "Faust" itself is rated a 'beta' (on a scale where 'alpha-plus' is reserved for truly great operas such as "The Marriage of Figaro", and 'gamma or less' for truly forgettable operas such as "La Rondine"). I almost subtracted a star from my review because Sir Denis awarded 'betas' to two of my favorite operas (Handel's 'Caesar' and Verdi's 'Forza'), but "A Night at the Opera" is way too good and funny and idiosyncratic (in the grand style that only British authors seem to be able to carry off) to be anything but a five-star book. The eighty-three operas that were chosen to appear in this book all had three or more versions listed in the "Gramophone" CD catalogue of December 1992, from Cilea's "Adriana Lecouvreur" to Berg's "Wozzeck." Each opera's libretto is lovingly (and somewhat whackily) described. There is a "Look Out For" section that describes and rates the opera's arias, preludes, choruses, intermezzos, etc. with one to three stars. Example: "Si adempia il voler" from Puccini's "Tosca": "The final scene [of Act II]: Scarpia sits down to write the phoney letter of safe conduct to a sweeping melody,** calm but full of menace, giving us a breathing space between the storms past and the storm to come: then the 'kiss of Tosca' [she stabs Scarpia] with all the stops out--and the calm melody plays the scene out (All Rome trembled before him) ending with a sonorous funereal version of Scarpia's theme accompanied by a death rattle of drums. Stupendous." Stupendous, indeed, even though Sir Denis only gives it two stars. The final two sections describing each opera are "News and Gossip"--background on how and why the opera was composed, and "Comment"--the author's summary of where the opera fits in the repertoire (plus any other remarks he chooses to make). This is a grand old book, all 959 pages of it. I read the whole thing, even the penultimate "Words Words Words" dictionary, and the final page of acknowledgements, "Friends, Supporters, Colleagues and Minders." Please, just one more quotation from the final page: "I would like to thank: Bamber Gascoigne for giving me the idea in the first place (and let it be noted that this handsome acknowledgement in no way affects the author's title to 100% of the copyright)." I loved this book and you will too, even if you only have a sneaking fondness for the 'Queen of Music'.

### ⭐⭐⭐⭐⭐ An Alpha Plus
*by B***A on February 21, 2004*

What can we expect form the man who was responsible for giving us tv series like "The Jewel in the Crown"? Nothing less than an Alpha plus of a book on opera. An alpha plus book it is. Bravo Sir Denis. There are not too much I can say since all the wonderful reviews especially those by Paul Creamer and "starmoth" covered almost everything. The book is like having an eccentric, worldly uncle giving you personal talks and pointers on different opera. Believe me, you wish Sir Denis was your uncle. It helps tremendously if you have a little knowledge about opera, so you can get the jokes. Even you don't have any prior knowledge, it is a great book to read and not to mention so much fun reading it with Sir Denis' witty comments (imaging Oscar Wilde writing an opera guide). Hopefully, after reading it, you will be inspired to explore the wonderful and crazy world of opera. By the way, if you like Sir Denis' writing, his autobiography "Son of Adam" may interest you too. It was made into a film "My Life So Far" with a great cast including the very talented Mr. Colin Firth. It is worth to check it out.

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*Last updated: 2026-03-17*