How to Listen to and Understand Opera

by Robert Greenberg

How to Listen to and Understand Opera
(32 lectures, 45 minutes/lecture)
Course No. 740
Taught by Robert Greenberg
San Francisco Performances
Ph.D., University of California at Berkeley
32 Audio Cds with Course Outline Booklet

Genres: Music, Nonfiction, Audiobook, History, Humor, Art, American

Audio CD

First published January 1, 1997

About the author

Robert M. Greenberg is an American composer, pianist and musicologist. He has composed more than 50 works for a variety of instruments and voices, and has recorded a number of lecture series on music history and music appreciation for The Teaching Company.

Greenberg earned a B.A. in music, magna cum laude, from Princeton University and received a Ph.D. in music composition from the University of California, Berkeley. He has served on the faculties of UC Berkeley, Californiz State University, East Bay, and the San Franciso Conservatory of Music, where he was chairman of the Department of Music History and Literature as well as Director of the Adult Extension Division. Dr. Greenberg is currently Music Historian-in-residence with San Francisco Performances.

Reviews

[Roy Lotz · Rating 4 out of 5]

About two years ago now, I learned that “young” people (read: under 35) can buy last-minute tickets at Madrid’s Teatro Real, the royal opera house, on the cheap. I had never been interested in opera; indeed, like many, I considered it supremely silly and unbearably pretentious. But I am not one to pass up a good deal. So one day, right when the ticket office opened, I bought my first opera ticket, for the price of 20 euros.

Though I could hardly appreciate it at the time, my seat was incredible: an orchestra seat, center stage. Without the discount, I could never have afforded it. To my left and my right were people almost three times my age, wearing clothes worth far more than three times as much as those I had on. I felt acutely out of place. But as soon as the curtain rose and the first notes rang out from the orchestra, I was entranced. It was really nothing like I expected. Yes, there were people in silly costumes, belting out silly lyrics. Yet the final effect was extraordinary. The sheer spectacle of the cast and the scenery, the enormous presence of their voices booming through the hall, made me an instant convert.

Now, I am a proud, card-carrying “friend” of the royal theater (this is also discounted), and have gone almost a dozen times. In this haphazard way, I have acquired some understanding of opera—its history, its styles, and its conventions. But I still longed for a more formal understanding.

Robert Greenberg has answered the call. This lecture series is just what you would expect from Greenberg: entertaining, instructive, and accessible. It suffers, as all introductions must, from severe time constraints, which forces Greenberg to focus his attention on a relatively small number of operas. True, if he had budgeted his time differently, he likely could have covered more breadth. Instead, Greenberg did his best to bring a small number of operas alive for the listener. If my experience is any indication, this is the right strategy: appreciating any art form is more a matter of feeling than of knowledge.

So I suppose the only thing there is to add is: Bravo, maestro!

[Brendan Monroe · Rating 5 out of 5]

Wow. If you're an opera fan or if you don't know the first thing about opera, this is the course for you. I cannot speak highly enough of Professor Greenberg or of this phenomenal course. Mozart, Verdi, Strauss, Wagner, Rossini ... all the masters are here, though I'll admit there's a special place in my heart for Puccini. While this course may seem long - nearly 24 hours - trust me when I say that you will be begging for more by the end of it.

Is Opera the highest art form? After listening to these 32 excellent lectures, you'll certainly have a hard time arguing otherwise. Bellissima!

[Irena Pasvinter · Rating 5 out of 5]

In these 32 45-minute lectures Robert Greenberg explains almost everything you thought you wanted to know about opera and much more in his usual passionate, politically incorrect, sometimes opinionated, always knowledgeable and never boring manner, fueled by contagious enthusiasm about music in general and opera in particular.

From the Ancient Greek drama roots of opera, to the analysis of different stages of its development and the detailed discussion of many specific operatic masterpieces, everything is amply illustrated by musical excerpts.

Beware: after this fascinating journey into the otherworldly world of opera, you might experience an irresistible urge to attend an operatic performance.

[Melinda · Rating 5 out of 5]

Revisiting these in 2019. I'd forgotten a great deal that was in the lectures, but am remembering them now. Robert Greenberg is superb. Just outstanding. I LOVE LOVE LOVE the way he sets up the opera to listen to.... his reading of the libretto is worth listening to.

Again, outstanding lectures!!!! Made me get several operas from the library to listen to and watch. Otello. The Magic Flute.

His recommendation to read the libretto BEFORE seeing an opera, then following along with the libretto is worth gold. It makes so much difference to know what is going on and be able to follow the action.

*** 2015 ****
An eye opening series of lectures. I have never been a big opera fan, but now have a greater understanding of them and appreciate Prof. Greenberg's insights. He also has an excellent way of teaching. Just so much fun!

I now also realize why operas have such bizarre and weird plots. ("Il Trovatore" anyone?) The source material that the composers and librettists start with is usually the culprit. These stories "sold", and so the operas based on their plots "sold" also.

[Nathan Albright · Rating 4 out of 5]

Part 1:

If you are a fan of classical music and the Great Courses series, and I must admit to being fans of both, then it is likely you have heard Robert Greenberg's impassioned instruction about music and composers, and that is something to be found here.  In stark contrast to most of the other courses by the instructor that I have listened to so far, I am not very knowledgeable about opera.  At best, I am someone who could be considered a casual fan of opera, someone who is willing to watch an opera if the tickets are free or cheap enough, and someone who has at least a basic appreciation for what can be done by very good composers and librettists in opera, but not someone who has seen a lot of operas or knows more than the basic stories of many of the most famous operas that exist.  In general, though, as someone who is fond of musical theater in various forms, this is something that I found a great deal to enjoy, and the first part of this course indicates that the instructor is quite interested in discussing opera in depth and to inspire a high degree of understanding and approval of opera as a form.

The eight lectures in this particular part of the course (which is the first of four for the course overall) are divided into three segments.  The first two lectures, each of them 45 minutes apiece, introduce the subject of opera and the relationship between words and music for the listener.  While the instructor does not assume that the person listening to the course is proficient in opera, it certainly helps to be interested in and knowledgeable about words and music in general.  After that comes a couple of lectures that give a brief history of vocal expression in Western music, starting with ancient Greek music and going through the Middle Ages with plain and less plain chant through madrigals and the birth of opera.  The last four lectures provide a discussion of the origins of opera as well as a detailed look, including quite a few excerpts, of the first operatic masterpiece in Monteverdi's Orfeo, which provides the listener with a good look at the way that opera could be done well without arias at the beginning of its history by a master of the craft.

What is it that makes good opera compelling?  To be sure, the repertoire is full of mediocre to bad opera, and throughout a long stretch of history there were so many operas being made that very few of them have been remembered, but when one watches or listens to good opera, there is a strong sense of emotional resonance, and Orfeo gives us a good understanding of why this must be the case.  Orfeo is a powerful musician, but one whose arrogance at having obtained the love of a nymph is first rocked by her death due to a snakebite and he is then further rocked by his own vanity and insecurity after having won over the lord of the underworld with a conditional promise to bring her back into life.  And yet although Orfeo is someone we can relate to, he does not examine himself to see his own fault for what has happened to him, nor does he come to that tragic realization of his own flaws that have endangered his happiness.  At its best, opera is a deeply moving art that is either richly comic or deeply tragic and reminding us of the truths of our inner nature, expressed artfully in the combination of music and words.

Part 2:

I think I have listened to exactly one opera in my life, when one came to the University of South Florida one Saturday night when I was a graduate student and I went to it because the price was low and enjoyed it.  I also tried to go once to The Girl With The Golden Gun but I couldn't fit it into my schedule.  That is the extent of my own personal familiarity with opera, except for occasions where friends of mine have sent me what they consider to be fantastic renditions of "Queen Of The Night" or something of that nature.  I consider myself therefore on the fringe of the sort of audience that the professor, noted music professor Robert Greenberg, is trying to reach.  I am familiar with opera, have a mild interest in it as long as the quality is good enough, and am not implacably hostile to it as an art that is worth being enjoyed as part of one's cultural offerings.  And that is really all that is necessary to appreciate a course like this one, at least a mild interest in opera and its history and a willingness to listen to and better understand good opera.

This particular set of lectures is the second of a set of four, and it spends its time looking at the context of two of Mozart's classic works, Idomeneo and The Marriage Of Figaro, over the course of eight lectures that are 45 minutes apiece, the first four being devoted to the former and the second four to the latter.  In looking at opera seria the professor examines not only Mozart's work but also the way that it was involved in the periodic reforms of opera seria that sought to renew the work from being viewed as overly melodramatic and repetitive.  Indeed, the professor has high praise for Gluck and his reforms and also notes the classical nature of Mozart's work on Idomeneo, setting it in the context of the aftermath of the Trojan War as well as the issue of the voice parts that operas tend to involve.  The professor gets the chance to do a great deal more analysis of the arias and recitatives in the Marriage of Figaro as he examines the popularity of opera buffa in Europe in the 18th century as an instrument of social change, and looks at the revolutionary nature of Mozart's music in painting Figaro as the equal of the slimy Count Almaviva.

Ultimately, it is pretty easy to see what the goal of the professor is of this course.  With only 32 lectures of 45 minutes each, there is no way that this course can provide a full and complete look at the worthwhile operatic repertoire.  Those listeners who are already familiar with opera can note probably a great many worthy operas that one can go and see on a regular basis in a city like Portland or Tampa (not even New York or LA or Chicago or London) that the professor simply does not have time to discuss in this sort of course.  Again, this whole quarter of the class focuses on two operas by Mozart, and we are already at the halfway point.  That said, even if the selection of discussions is limited, and the professor himself states that the only way one is going to fully appreciate these works is to take the time to listen to them with the translated wordscore, it appears as if Professor Greenberg is deeply interested in increasing the level of understanding and interest in opera, even to the point of providing a sample of the great operas that people who are already fans of classical music and "high" culture are most likely to appreciate.  That is, I think, a very wise strategy.

Part 3:

In most of the courses I have listened to in this particular professor's series, all of which deal with music in the Western concert tradition, I have been or at least considered myself as having a high degree of expertise in the subject in question.  If I still learned quite a bit, I did not come into these courses largely unfamiliar with the subject at hand, whether it was a composer or the history of the Western canon of concert music in general.  That said, opera is clearly not an area where I have a high degree of expertise and it has been gratifying if at least a little bit humbling to see just how little I know about opera, as well as about how I am familiar with more of it than I realized, if in strange and unfamiliar ways.  Perhaps you, like me, are not particularly familiar with opera and have not seen many operas, but still wish to appreciate them and at least be familiar with the larger scope of opera as it exists in the contemporary repertoire, and if so, then you will find a lot to appreciate here.

These eight lectures form the third part (of four) of the author's admittedly brief survey of the opera repertoire, and they are certainly very interesting.  The author begins with a two-part series of lectures that introduces the Bel Canto period of 19th century Italian opera (17) and then provides some samples of Rossini's excellent The Barber of Seville (18).  After that the author spends four lectures discussing Verdi and Otello, in which Verdi's life is summarized and not only quite a few samples of Otello are sampled, which are, it must be admitted, very beautiful, but also the author samples other operas by Verdi as well, where I found I was familiar with one of the arias of Rigotello (19, 20, 21, 22), much to my surprise and pleasure.  After that the course closed with two lectures on French opera (23, 24), which clued me in on the need to become better familiar with Lully, Rameau, and Gluck, and even provided a bit of sampling of some of the operatic management of the much-maligned Meyerbeer, whose similarities to Andrew Lloyd Webber provided a link between the operatic repertoire and contemporary musical theater, something which I know a bit more about than I do with opera, as is likely to be the case with many listeners.

What does one gain from lectures like this?  For one, one gets at least some familiarity with both Italian and French opera, both familiar operas like Bizet's "Carmen" or Rossini's "The Barber Of Seville" or Verdi's "Rigoletto" or "Otello," as well as the more unfamiliar operas of the French tradition before Gluck's reforms.  Greenberg is clearly aware of the wide scope of the opera repertoire and operas that could and indeed should be more familiar to audiences, and does a great job at introducing the subject, even if he often states that there are far more arias and recitatives that are worth listening to and even as he and the listener understand that this survey is admittedly very superficial and very limited in nature.  What the survey does do, though, is demonstrate that even such a high culture matter as an aria from Verdi's Rigoletto can be repackaged as an advertisement for the not-particularly-high culture of Rick Dees' Weekly Top 40, with an expectation that one will appreciate the role of opera as an element that has greatly influenced other aspects of culture both in the 19th century and even to this day.  And knowing that influence is an encouragement to be more familiar with the operas themselves.

Part 4:

This particular six hours or so of lecture time in eight cds finishes the collection by the professor that introduces the listener to the repertoire of opera.  And while I agree with the instructor that this course is only the barest introduction and most superficial discussion of the opera repertoire, I cannot help but wonder whether the choices made in this particular book to spend so much time on Wagner and Puccini was in fact worthwhile, not least because it led the author to entirely neglect English-language opera, including American opera.  While there are trade-offs that need to be made, I have to say that I was not very impressed with what I heard of either Wagner or Puccini, and I think I would be more likely to appreciate opera in my own language, at least when it is taken into account that the libretto of operas tends to be less spectacular when one understands what is being said.  Even so, I have to admit that these lectures did make me want to seek out some Russian operas, particular the obscure but excellent Boris Godunov if I can find that opera performed near me, and that is reason enough to appreciate this particular course.

The final eight lectures, each of them 45 minutes apiece, cover three main topics.  The first lecture contains a discussion of German opera and how it came of age in the 19th century (a fairly late bloomer as far as opera cultures go) with the rise of the romantic movement and the work of Mozart and others to provide opera in a form that resonated with the German language and with the native tradition of songspiel (25).  After that the professor spends two lectures on Wagner's Tristan und Isolde (26, 27), which appears a tad bit melodramatic for my tastes, even if it is possible to appreciate the leitmotifs and the way his particular understanding of that concept has influenced even those unfamiliar with his operas in particular or even opera in general, as well as one lecture on Straus, Salome, and late romantic German opera (28).  After this there are two lectures on Russian opera (29, 30), where the author talks about the late development of Russian opera based on its own native folk traditions and gives an introduction to the fantastic Boris Godunov opera which is one I want to know much better.  Finally, the course concludes with a discussion of Verismo and Puccini's Tosca (31, 32), which struck me as far too decadent of an opera to wish to support myself.

In looking at this series as a whole, it is obvious that since the 17th century opera has been able to provide multimedia entertainment in multiple languages that has managed to have both elite and occasionally popular support.  Operas have been written and successfully released in multiple languages (most notably Italian, French, German, Russian, and English, but not only these languages) and in a variety of different styles and has proven itself to be flexible in being able to relate to the native gifts of languages as well as the cultural treasures of the languages that the operas are being written in.  Operas represent not only a certain high culture approach to the world but also trends in religion and culture in general, and that which is considered to be acceptable or unacceptable in opera relates as a lot to what one finds to be of interest or acceptable within larger cultural confines.  The cultural decline of the West has, unsurprisingly, made it hard to write good operas anymore in any western tradition.  And that is a great shame, but at least we have some good ones from the past to listen to and watch.

[Sher · Rating 5 out of 5]

I guess I consider myself a semi-opera buff. I am not a fanatic, but every so often, I love me a good opera. Now with that said, I put off getting this Great Course until I had heard every other one by Robert Greenberg, and for quite a long period of time. The reason is actually pretty dumb. I didn't want to hear him tell me how great Richard Wagner is. I know, I know, Wagner did amazing things and was an innovator and all that stuff, but I am definitely not in his camp. Well, Greenberg did cover Wagner quite thoroughly, and a big part of what he said was to emphasize what a despicable human being Wagner was. One point for my team. But I already knew that.

The opera of Wagner's that he chose to explore was of course, his magnum opus, Tristan and Isolde. Here is the story (I think I can safely tell it without spoiling it, but if you are not sure about that, stop reading now). Tristan was a sailor who terrorized the town where Isolde lived. He killed a lot of people there and so on. Well, she invites him down to her place for a drink. Oh, she was a kind of voodoo doctor and regularly mixes up potions to give to people. So Tristan totally knows this but decides that since he was so mean to her town, he owes it to her to go down, drink her potion and die. Makes total sense, right? Well, he doesn't die. He falls in love with her, and she with him. Most rational people fall in love with plunderers and murderers, right? But the fact is, it is a love potion that she mixes for him. Why she loves him I'll never know other that he was surely a hunk.

So one thing leads to another and they become deeper and deeper in love. Did I mention that this opera lasts FIVE HOURS??? Which is about how long they knew each other and not in the Biblical sense, which is part of the problem, but also the reason Wagner wrote such unrequited music. It never arrives anywhere for FIVE HOURS. Well, to make a reeeeeeally long story short, Tristan does end up dying, and shortly thereafter, so does Isolde. That's it more or less.

So Professor Greenberg played many excerpts from the opera, most of which were interminable screeching (hence the term Wagnerian soprano!) and meandering of the music that is so Wagnerian. But I have to admit, the song that Isolde sings when Tristan dies, the so called Liebestod, was actually beautiful and I really enjoyed it. One point for Team Wagner. Yes, this is me speaking, the hater of all things Wagner. No screeching, just tender, sweet, sorrowful love music that actually ends on a complete cadence, probably the only one in the whole five hours. But I will guarantee you I am not going to sit through five hours of Wagner to hear one great song. I'll get a recording.

Now all the other composers and operas Professor Greenberg talked about I could easily get my mind and heart around, especially my beloved Verdi. And many others, including of course Mozart, Rossini, Puccini, etc. and some that I had never heard of before. If you have any inclination into what opera is all about, I highly, highly recommend this course. Just don't cave on me and start to love Wagner!

[Kristi Richardson · Rating 5 out of 5]

Lectures

1 Introduction and Words and Music, I

2 Introduction and Words and Music, II

3 A Brief History of Vocal Expression in Music, I

4 A Brief History of Vocal Expression in Music, II

5 Invention of Opera and Monteverdi's Orfeo, I

6 Invention of Opera and Monteverdi's Orfeo, II

7 Invention of Opera and Monteverdi's Orfeo, III

8 Invention of Opera and Monteverdi's Orfeo, IV

9 The Growth of Opera, the Development of Italian Opera Seria, and Mozart's Idomeneo, I

10 The Growth of Opera, the Development of Italian Opera Seria, and Mozart's Idomeneo, II

11 The Growth of Opera, the Development of Italian Opera Seria, and Mozart's Idomeneo, III


12 The Growth of Opera, the Development of Italian Opera Seria, and Mozart's Idomeneo, IV

13 The Rise of Opera Buffa and Mozart's The Marriage of Figaro, I

14 The Rise of Opera Buffa and Mozart's The Marriage of Figaro, II

15 The Rise of Opera Buffa and Mozart's The Marriage of Figaro, III

16 The Rise of Opera Buffa and Mozart's The Marriage of Figaro, IV

17 The Bel Canto Style and Rossini's The Barber of Seville, I

18 The Bel Canto Style and Rossini's The Barber of Seville, II

19 Verdi and Otello, I

20 Verdi and Otello, II

21 Verdi and Otello, III

22 Verdi and Otello, IV

23 French Opera, I

24 French Opera, II

25 German Opera Comes of Age

26 Richard Wagner and Tristan und Isolde, I

27 Richard Wagner and Tristan und Isolde, II

28 Late Romantic German Opera—Richard Strauss and Salome

29 Russian Opera, I

30 Russian Opera, II

31 Verismo, Puccini, and Tosca, I

32 Verismo, Puccini, and Tosca, II


I love Professor Greenberg’s lectures and when I saw this one available on Audible I had to try it. I have never been an opera buff before (except for a fondness to Mighty Mouse growing up) but since joining Amazon Prime and noticing all of the great operas available to listen or watch on Video, I have been catching up.

What Professor Greenberg does in these lectures, (32 45 minutes in length) is tell you the history of Opera, give you some examples of some great Operas and just let you listen and enjoy.

Things I learned from this course:

1. Opera got it’s start in monastic Gregorian chants and other early choral works.
2. The language that an opera is written determines it’s style. Italian is very expressive, while German is more guttural, if you understand what I mean.
3. There are so many operas out there to enjoy, and I can’t wait!
I enjoyed listening to these lectures while I was in the hospital recently and it really got me through.

If you want to stretch your mind outside of your usual course, I highly recommend any class by Professor Robert Greenberg. He knows how to make music interesting and he makes it easy to understand. This was a real joy to hear.

[Les Wilson · Rating 5 out of 5]

I have listened to Opera for over 50 years and still learned.from this book/course. A must for anybody interested in Opera.

[Julie Capell · Rating 2 out of 5]

I enjoy opera and musical theater of many kinds, but I've always felt like there was more I needed to know to really get the most out of opera. Sadly, these lectures were not that helpful. I think it would have been better if the title were "The history of opera." Seemed to be less about the experience of the audience than a timeline of the development of the genre. If that is what you are looking for, you will love this.

On the plus side, each lecture contains long excerpts of music illustrating the points the lecturer is making.

[Paula Berinstein · Rating 5 out of 5]

Absolutely magnificent! No wonder Robert Greenberg gets such high ratings for his music courses. In this one he starts out great and gets even better as he progresses. By the end he is more fun than a week in Paris. I especially enjoyed the section on Russian opera, as I was unfamiliar with it. The penultimate lecture, in which Greenberg skewers Puccini’s critics, is the indisputable high point. I was practically rolling on the floor laughing. Highly recommended.

[Jason Friedlander · Rating 5 out of 5]

so much love for robert greenberg’s lectures - this is a great primer to some of the most influential operas over the last few centuries and has left me excited to fall in love with the beauty occupying the spaces in between

[Anu]

I like this long course very much. It enhances my opera listing experience in many ways. The teacher has a very personal style that some may find irritating, but it worked for me. I loved his passion for the music that showed throughout the course.

[Tina Doncheva · Rating 4 out of 5]

After "How to Listen to and Understand Great Music," I was absolutely focused on listening to another Greenberg audio-book on Audible. (And yes, I will surely listen to more.) Again, not disappointed. The only reason I am giving 4, not 5 stars, is that "How to Listen to and Understand Great Music" has already covered a fair percentage of what "How to Listed to and Understand Opera" did. In that sense, I will repeat myself - the audio-book won't be the same without the incredibly enthusiastic reading of Greenberg, who feels each word and piece. Again, a must for opera lovers, especially for those who are just getting into opera, are (undoubtedly) enamoured by it, and want to better understand it. For those who are more familiar with it, this audio-book is still a great accessory to getting even closer to one of the greatest forms of art. And I had a biiig smile on my face the entire time I was listening to Prof. Greenberg, which speaks volumes. Just an incredibly engaging master, really.

[Michelle · Rating 4 out of 5]

Robert Greenberg is a hoot and this lecture series is no exception. (I've also listened to The Teaching Company's "How to Listen to and Understand Great Music" by Greenberg and recommend it as well.) My husband and I will frequently find ourselves laughing at classical concerts because the music is just so funny and witty. Professor Greenberg doesn't make listening to opera too serious. He clearly appreciates the humor in the sometimes (usually?) over-the-top dramatic situations, on-stage egos and backstage intrigues while packing his lectures with historical information and real musical insight. I think going to the opera with Robert Greenberg would be a dream come true. This is the next best thing.

[November Ryan · Rating 4 out of 5]

3.5 rounded up for the pieces that I'm now obsessed with. Greenberg grates on me occasionally but I'll give him credit for being passionate and personable and for calling himself "an operatic slut" for loving Puccini. While I did end up skipping some lectures because I was not vibing with the opera he was covering, this did do a really good job overviewing the different national styles of opera and made it easier to pick out the different techniques composers use(d) to form a comprehensive musical experience. I wish he had covered some later works and some English or American operas but I wouldn't take away from the rating for it because he only had so much time to get his points across. Now if I could find a 'Operas of the 20th and 21st Centuries' series...

[Steve Stegman · Rating 5 out of 5]

My first experience with "The Great Courses" audible books. Really great. Greenberg is informal and approachable and makes the lectures fun and begins with very good explanations that help you build on concepts as the book continues. I really liked how this audible book was more than just reading - Greenberg would explain a certain style or opera and then play an example which really helped me learn so much more. I can't wait to listen to Greenberg's other lectures.

[Michelle · Rating 5 out of 5]

I love any course by Robert Greenberg. My husband and I listened to the audio course during car travels. Since we rarely travel long distances by car, it took a while to complete the series but it was informative and entertaining. We will keep it as reference before seeing any of the operas covered in the course.

[Jared Gillins · Rating 5 out of 5]

I went from knowing just about nothing about opera to having a pretty decent grasp of, as the title of this lecture series suggests, how to listen to it. And maybe not how to fully understand it, but I definitely have the tools now to come to understand any operatic work I come across.

Robert Greenberg is a great lecturer and teacher. I'm looking forward to listening to more of him.

[Adam · Rating 5 out of 5]

I have been a fan of Prof. Greenberg's lectures for several years now. His courses are thoughtful, comprehensive surveys of music and music history. While complete newcomers to classical music may face a bit of a learning curve, anyone with a small to moderate foundation of musical and historical knowledge will come away with a more thorough appreciation for and precise understanding of Western music.

Opera. It conjures images of fancy, hoity-toity types dressed in furs and tuxedos, sitting in box seats while oversized, horn-helmed women belt endless notes through the concert hall. Well, Greenberg immediately addresses these stereotypes, and proceeds to lead listeners from the early days of vocal and instrumental music up to the early 20th century. Through the journey of time and space, opera grows and transforms. Opera is not an intellectually elite pursuit. It is, according to Greenberg, the highest of expressive art forms, the fusion of words and music creating a result more emotive than the sum of its parts.

There are sure to be objections here by opera aficionados. Most of them will be “Well, what about____? How could a course on opera not cover ____?” This is a survey course. Its purpose is not to confer a complete, comprehensive understanding of all opera. It offers a sample of several crucial operas through history, enough to give listeners a sense of the continuum of the art form. Greenberg is clearly tormented by having to omit certain composers and works, but it is the restriction of the format. This course is highly recommended for anyone who, like me, has musical and historical knowledge, but wants a thorough introduction to this intimidating topic.

[Don Heiman · Rating 5 out of 5]

In 1997 The Teaching Company released Professor Robert Greenberg’s 32 lecture course “How to Listen to and Understand Opera.” Each lecture is 45 minutes long. The course highlights the operatic history of many musical composers beginning with Josquin des Perez’s high Renaissance polyphonic style from the late 1400’s, through the high Renaissance, Napoleonic period, to the Franco-Prussian War, and international World Wars. The course concludes with Strauss’s exceptional 1941 “Capriccio” opera. The lectures feature many different musical styles including aria, coloratura writing for voice ranges, and melodic textures, to mention a few. The course guidebooks have the written text of the opera storylines, timelines, and glossary of terms. The lectures feature detailed explanations of operatic compositions, musical orchestral as well as voice singing performances that demonstrate opera genres and musical components. The lectures discuss the different features of Italian, German, French, Spanish, and Russian classics. The lectures also cover the operatic compositions of many renown composers such as Mozart, Rossini, Verdi, Wagner, and Puccini. This is wonderful course for anyone who has a love for classical music, music history, and the interrelationship of musical text and sound. When the course was released, Professor Robert Greenberg was Chair of the Department of Music History and Literature at the San Francisco Conservatory of Music. His degrees are from Princeton and California Berkeley, where he received a Ph. D in music composition in 1984. (L/P)

[Stuart Bishop · Rating 5 out of 5]

Brilliant history and explainer of the major operatic styles and movements, principally from the 16th to early 20th centuries.

Professor Greenberg is warm and engaging, and the material is beautifully judged. Not the patronising tone of a ‘for dummies’ style work, but clear and inclusive for the casual enthusiast who wants to improve their understanding. Even the aficionado is likely to get something from the breadth of material covered, or from the lecturer’s endless supply of quotes and anecdotes about the composers.

Of course, it is not ‘comprehensive’ in the true sense of the word, but it does a fantastic job of walking you through the countries, composers and styles that make up the bulk of the international repertoire.

Each lecture or small group of lectures features a theme, in chronological order, and focuses in on a single opera to illustrate. The music is wonderful, as is the lecturer’s skill at providing a translation of the libretto that lets you truly understand the scenes he chooses to play - ‘plain English’ narration that allows you inside the story in a way that clumsy surtitles don’t.

Cannot recommend highly enough, to anyone with even a passing interest in opera.

[Yaaresse · Rating 5 out of 5]

Well, well, well, this was quite a surprise.

I've often (derisively) describe my dislike of opera as "I have an aversion to being screeched at by people in languages I don't understand." I was only half-joking. So taking on this GC was a challenge to myself, and I honestly thought I would be lucky to make it through three or four lessons. Instead, I found it fascinating, enough so that I often binged several sections at a time. Now, will I run out and buy season tickets to the local opera series. Gotta be honest here, probably not. But I think I could sit through a performance now and not feel completely lost and disinterested.

Ok, and I have a crush on 1997-ish Robert Greenberg. I suspect I'm not the first person to say that either.

[Vojtech · Rating 5 out of 5]

Listening to this audiocourse is a big project. The 30 hour length is, frankly, more than just a bit daunting. However, the content is very enjoyable and I absolutely learned a lot in the process. Granted, it's a lot of information to just remember, but you will certainly get a very good overview of the history of opera and some of the seminal works. In some cases I wished there would be more music included, but I guess the course is already long enough as it is.

I admit that Prof. Greenberg's sense of humour may not be be everybody, but I certainly enjoyed it quite a bit and looked forward to the lectures in part also because of that aspect. So, to underline, if you want to dive a bit deeper into the world of opera, this title might just be the one to pick up.

[Lee · Rating 5 out of 5]

Packed with so much interesting information that I keep returning to the recording again every few months or so to listen to selected portions of it.

It’s odd that the author feels compelled to divide the series into parts of equal length when these parts are not sold separately. Some parts he even said he regretted the limited time he could give to that part’s subject, while other parts (such as those on early opera) were more than long enough for me. I would have liked to have seen the parts larger or smaller as suited to the topics covered.

[Rose Rosetree · Rating 5 out of 5]

Of course, I shelve this teaching under self-help along with all the other categories. I've been listening to music my whole life. Thanks to Professor Greenberg, I have improved my comprehension of what was, technically, being achieved in that music.

Operas are BIG musical opportunities. I found the BIG personality of Robert Greenberg was so well suited to teaching me fine points about operas.

Wonderful, wonderful, wonderful.

[D.B. Watson · Rating 5 out of 5]

A wonderful book and lecture. If you were ever nervous about opera listen to the audio of this book and be transported across the globe. There’s samples of different operas and the instructor explains bit by bit what it all means. I understand that it is the composer who is the star not the performers.
I don’t feel intimidated by operas in fact I can’t wait to go.

[Nick · Rating 5 out of 5]

An excellent course to gain a framework to discuss concert/"classical" music. The lecturer is also a fun guy. I definitely recommend this to anyone wanting an entry point to the intimidating world of Western musical culture.

[Yannick M · Rating 4 out of 5]

I think based on the table of contents I expected this to be more of a complete history of opera. The most important facts are covered, but the focus is really on showing and explaining you the music. That job Robert Greenberg again does very well.

[Nina Braden · Rating 4 out of 5]

1997

[Saurabh · Rating 5 out of 5]

A splendid introduction to this wonderful art form! Dr. Greenberg is his usual irrepressible and insightful self.