Complete Stories of the Great Operas

Old Met Opera mailings and Mr. Cross' obit were bookmarks in this treasure. Along with Kobbe's, this 1960 edition edited by Karl Kohrs one of my favorite books.

Do you ever get confused by operas -- following the lyrics, questions about the plot, difficulty in figuring out what the heck these people are doing? Well, when viewing an opera, it's a good idea to check up on the plot beforehand, so you can enjoy watching it unfold instead of thinking "What's he saying? Why's she doing that?" With that in mind, "New Milton Cross' Complete Stories of the Great Operas" is an excellent resource for anyone checking out an opera. Gillian Cross does the job thoroughly -- not only does she give a detailed, insightful, act-by-act summary of the operas, but also provides a listing of the characters, the vocal types that should play them, the setting, the time, and a short biography of the composer (Strauss, Mozart, Verdi and many others). The summaries of all these operas, from "Aida" to Verdi's retelling of "Otello," is also rounded by a trio of essays: "How to Enjoy An Opera," which might help wary newcomers be more open-minded about operas as a whole, "A Brief History of Opera," and "The Ballet of Opera." Not to mention an extensive reading guide for more information on the subject. Most operas are more like Shakespeare than a modern movie -- to many average viewers, they seem almost incomprehensible if the plot isn't clear beforehand. But this book does an excellent job of bringing across the plot -- and many of the nuances -- of each opera without seeming dry or dull. In fact, it's a pretty fun read. It also has a wealth of interesting facts that can serve as unusual trivia -- for example, Beethoven wrote only one opera, when he found a suitable libretto for his work. And while the summaries don't get TOO detailed, often stretches of dialogue are examined and plot twists studied. It doesn't replace the live experience of watching an opera, but it does make sure that readers will understand what they do see. For someone dabbling in opera, or even to a die-hard fan, "New Milton Cross' Complete Stories of the Great Operas" is an invaluable handbook to keep nearby. Solid, entertaining and informative.

The first music reference books that I owned were by Milton Cross. Even now, with a shelf full of opera references, his COMPLETE STORIES OF THE GREAT OPERAS is the first book that I consult when I am looking for a well written, easily read, act by act synopsis of an opera. As an added bonus, Cross begins each opera write up with a paragraph which includes a few pertinent facts about the composer and the circumstances surrounding the writing of the particular opera.In addition to the slightly more than seventy-five operas discussed, he has also included sections on how to enjoy an opera, a history of opera, and a discussion of ballet in opera.As I do before attending a Shakesperean play, (see my review of SHAKESPEARE A TO Z.) I find it helpful to prepare ahead of time by reading about the opera I am about to attend. Cross's book is fairly detailed, leading you through all the significant actions, and accompanying music, of each act in the order that they occur. I often supplement this reading with shorter, more succinct discussions in other references. There is a real value to owning multiple references on the same subject.Included in this book are most of the operas that are in the normal reportoire of any contemporary opera company. Only the newer and/or experimental operas written in the latter part of the twentieth century are missing, and they are not often performed.In his chapter on enjoying the opera, he states, as I did above, that for full enjoyment of an opera, you need to already understand it. Understanding, according to Cross, can come from some, or all, of the following: Read a libretto. Read the story. Listen to the music either on a recording or in an instrumental transcription. He also reminds the reader that opera plots are often weak and illogical. Some are filled with obscure symbolism, some based on legend, and some just plain puzzling. The music is what is important.He suggests other, more extensive, forms of preparation that are probably too time consuming for the contemporary opera goer, but I agree with him that some sort of preparation will certainly enhance your enjoyment. The last two sections of the book, one on the history of opera from the sixteenth century to the present, and the other on the use of ballet in opera, are more appropriately read than summarized. These sections are interesting and are readable on a stand alone basis. The bulk of the book, exclusive of the last three sections, is a reference and is most useful for the purpose of preparing yourself for an opera performance that you are about to attend.This is an invaluable reference and belongs on the shelf of any opera goer or potential opera goer.