An Invitation to the Opera

Before I started to listen to opera, I was already a classical music fan. Nevertheless, I still needed a book that could help me to appreciate operas. The opening of this book convinced that this was the one. In "Introduction: Why Opera", DiGaetani started with an example to show how the general public might feel about opera, whose story often sounded like "a scene from a soap or B movie". As DiGaetani put it, opera is the most artificial art yet it continues to attract certain audiences. Here DiGaetani did not glorify opera like an unattainable object; instead, he gave an appropriate account of characteristics of opera and barriers to enjoying it. Doing some homework can help the newbies appreciate the beauty of opera more. DiGaetani began it with the history of opera and essays of some elements of opera as performing art - voice, theater and conductor. just like any guide, ended with biographies of many great singers and a standard repertory (50 most-often-performed operas). He gave each opera in this repertory a little bit background information and an account of goods and bads, not simply a summary of the plot. However, if you're only looking for the recording recommendations, then this book will disappoint you. DiGaetani only listed two recordings per opera in his list without any comment. Since the book was first published in 86, the youngest singers is Eva Marton (b. 1945) and Pavarotti is consider as young here too. Still, its content is timeless (I first read this book 15 years ago) and can be quite helpful not only to newbies but also to opera lovers.

This wonderful book has served me well in teaching high school students about the wonders of opera and how to appreciate this complex art form. DiGaetani's book contains succinct, self-contained chapters on the history of opera, the operatic voice, famous singers through the centuries, opera conducting, and opera as theatre. His brief yet pungent summaries of the principal operas in the modern repertoire are especially good. Additionally, the glossary of terms in the back of the book has been carefully selected not to overwhelm the neophyte while still providing complete, accurate definitions. Having taught opera appreciation for several years using only this book, I know how 'User Friendly' it is. I keep coming back to it year after year because it is so expertly crafted. Anyone who wants an introduction that is both comprehensive and accessible will find this book to be indispensable. Without question, a "Best Buy" for the price and length!