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Opera 101: A Complete Guide to Learning and Loving Opera
Opera is the fastest growing of all the performing arts, attracting audiences of all ages who are enthralled by the gorgeous music, vivid drama, and magnificent production values. If you've decided that the time has finally come to learn about opera and discover for yourself what it is about opera that sends your normally reserved friends into states of ecstatic abandon, this is the book for you.
Opera 101 is recognized as the standard text in English for anyone who wants to become an opera lover--a clear, friendly and truly complete handbook to learning how to listen to opera, whether on the radio, on recordings, or live at the opera house. Fred Plotkin, an internationally respected writer and teacher about opera who for many years was performance manager of the Metropolitan Opera, introduces the reader (whatever his or her level of musical knowledge) to all the elements that make up opera, including:
-a brief, entertaining history of opera
-an explanation of key operatic concepts, from vocal types to musical conventions;
-hints on the best way to approach the first opera you attend and how to best understand what it happening both offstage and on;
-lists of recommended books and recordings, and the most complete traveler's guide to opera houses around the world.
The major part of the Opera 101 is devoted to an almost minute-by-minute analysis of eleven key operas, ranging from Verdi's thunderous masterpieces Rigoletto and Puccini's electrifying Tosca through works by Mozart, Donizetti, Rossini, Offenbach, Tchaikovsky, and Wagner, to the psychological complexities of Richard Strauss's Elektra. Once you have completed Opera 101, you will be prepared to see and hear any opera you encounter, thanks to this book's unprecedentedly detailed and enjoyable method of revealing the riches of opera.
Opera 101 is recognized as the standard text in English for anyone who wants to become an opera lover--a clear, friendly and truly complete handbook to learning how to listen to opera, whether on the radio, on recordings, or live at the opera house. Fred Plotkin, an internationally respected writer and teacher about opera who for many years was performance manager of the Metropolitan Opera, introduces the reader (whatever his or her level of musical knowledge) to all the elements that make up opera, including:
-a brief, entertaining history of opera
-an explanation of key operatic concepts, from vocal types to musical conventions;
-hints on the best way to approach the first opera you attend and how to best understand what it happening both offstage and on;
-lists of recommended books and recordings, and the most complete traveler's guide to opera houses around the world.
The major part of the Opera 101 is devoted to an almost minute-by-minute analysis of eleven key operas, ranging from Verdi's thunderous masterpieces Rigoletto and Puccini's electrifying Tosca through works by Mozart, Donizetti, Rossini, Offenbach, Tchaikovsky, and Wagner, to the psychological complexities of Richard Strauss's Elektra. Once you have completed Opera 101, you will be prepared to see and hear any opera you encounter, thanks to this book's unprecedentedly detailed and enjoyable method of revealing the riches of opera.
494 pages, Paperback
First published January 1, 1994
184 people are currently reading
655 people want to read
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Displaying 1 - 30 of 47 reviews
November 1, 2020
Si quieres aprender Ópera; ser paciente
Es un libro muy denso, tener mucha paciencia en cómo explica de fondo cada compositor que muestra en el libro. Muy interesante, sin embargo demasiado rollo para explicar cada tema. Si hubiera el autor omitido, cada opinión suya, quizás sería más fácil de digerir. Aunque su intención es buena y se agradece me hubiera gustado dedicarle menos tiempo a lectura.
Es un libro muy denso, tener mucha paciencia en cómo explica de fondo cada compositor que muestra en el libro. Muy interesante, sin embargo demasiado rollo para explicar cada tema. Si hubiera el autor omitido, cada opinión suya, quizás sería más fácil de digerir. Aunque su intención es buena y se agradece me hubiera gustado dedicarle menos tiempo a lectura.
May 13, 2014
Pretty damn great, with the usual caveats.
To start: Plotkin really knows his stuff. He's deeply passionate about opera but also he's worked in the industry, so it's not that stuffy nonsense you read in "Opera" magazine, a bunch of old-timers who are more interested in trading anecdotes than engaging with an evolving art form. Plotkin's passion and knowledge shines through, and he digs deep into ways of approaching opera (including something as seemingly simple as buying tickets) but also is happy to provide some old-timer advice alongside it. His brief history of opera at the start is refreshingly accessible, but at the same time, he sticks to his guns about issues that many of us younger folk don't necessarily agree with. His thorough discussions of a series of varied operas really will make the difference for someone either new to or somewhat familiar with opera, and the extensive listing at books end of "recommended recordings" of basically every opera ever is... well, just wonderful.
So, what are my caveats? Well, firstly, this book was written in the early '90s, and as a result neglects the internet and cinema angle that has so changed opera and opera bookings. It's a small fact, but it can be distancing twenty years on. Second, as I mentioned, some of Plotkin's views I simply cannot agree with. He largely ignores the fact that opera was previously a very open, talkative environment for an audience, acting as if it's just natural to sit in the dark and be quiet and appreciate 4 hours of music. (Don't get me wrong, that's the convention nowadays and it's lovely, but it's worth remembering if you're bored by a very long Handel opera, it's because you're not watching it in the way it was intended. Not going out for a drink during a boring part or throwing stuff at your friends? Rossini would be so confused!) His most upsetting angle is his stark opposition to surtitles. While I agree that they can distract audiences and - by their very nature - they simplify the depth of any work, the flipside of this - as shown by the last twenty years - is how accessible both comedy and deep philosophy become when we can understand each moment. Not just what we remember from the libretto we read and studied all week (if Plotkin is to be believed) but what the actors - because, after all, these days many more opera singers are being trained somewhat as actors - are bringing to its moment. Of course, it won't be an issue in a few years, when we all have a Google Glass attachment. If you don't want the libretto, you won't see it, and if you do want it, you can choose your language, your annotations, and everything else in a (literal) blink of an eye.
Thirdly and finally, I suppose, there's Plotkin's overall view. It's admirable and certainly not to be easily disregarded, that people should listen to many recordings of an opera, listen and read before they attend, and devote as much time as possible to rumination. Unfortunately, it's just not how many people engage with the artform, particularly not newcomers who may be dragged along by an aunt or uncle, or tentatively take their first steps from the back of the balcony. In short, in his attempts to convince readers that they should engage with the artform on his terms (or, at least, on the terms of a longterm opera subscriber in the 20th century), he fails to acknowledge that opera must give some ground. Not necessarily "cheapen" itself as he says, but make some compromises with the Gen Y and Z audiences who simply come from different cultures, even if those cultures are separated by time and not geography.
Before I wrap up, though, it's worth reiterating that this is a great book. Plotkin skilfully leads the reader through operas in four languages as a kind of overall guide, while giving enough information that anyone not feeling terrified after the experience will be able to navigate their way from here. Even when his views feel a little unbalanced, they're worth noting. His greatest concern - that modern audiences will simply engage with the surface-reading of an opera and its words - is valid, since so much of what happens in opera (that is, why it can take someone 20 minutes to say "I love you") is in the rich and deep work of the score.
Anyhow, overall, this is a really good book if you're the kind of novice who can use it as a basis for your own exploration of opera. Just take everything with a grain of salt (as you should be doing anyway!).
And, seriously, that list of recommended recordings at the back of the book might now be outdated by 20 years, but it remains truly stellar.
To start: Plotkin really knows his stuff. He's deeply passionate about opera but also he's worked in the industry, so it's not that stuffy nonsense you read in "Opera" magazine, a bunch of old-timers who are more interested in trading anecdotes than engaging with an evolving art form. Plotkin's passion and knowledge shines through, and he digs deep into ways of approaching opera (including something as seemingly simple as buying tickets) but also is happy to provide some old-timer advice alongside it. His brief history of opera at the start is refreshingly accessible, but at the same time, he sticks to his guns about issues that many of us younger folk don't necessarily agree with. His thorough discussions of a series of varied operas really will make the difference for someone either new to or somewhat familiar with opera, and the extensive listing at books end of "recommended recordings" of basically every opera ever is... well, just wonderful.
So, what are my caveats? Well, firstly, this book was written in the early '90s, and as a result neglects the internet and cinema angle that has so changed opera and opera bookings. It's a small fact, but it can be distancing twenty years on. Second, as I mentioned, some of Plotkin's views I simply cannot agree with. He largely ignores the fact that opera was previously a very open, talkative environment for an audience, acting as if it's just natural to sit in the dark and be quiet and appreciate 4 hours of music. (Don't get me wrong, that's the convention nowadays and it's lovely, but it's worth remembering if you're bored by a very long Handel opera, it's because you're not watching it in the way it was intended. Not going out for a drink during a boring part or throwing stuff at your friends? Rossini would be so confused!) His most upsetting angle is his stark opposition to surtitles. While I agree that they can distract audiences and - by their very nature - they simplify the depth of any work, the flipside of this - as shown by the last twenty years - is how accessible both comedy and deep philosophy become when we can understand each moment. Not just what we remember from the libretto we read and studied all week (if Plotkin is to be believed) but what the actors - because, after all, these days many more opera singers are being trained somewhat as actors - are bringing to its moment. Of course, it won't be an issue in a few years, when we all have a Google Glass attachment. If you don't want the libretto, you won't see it, and if you do want it, you can choose your language, your annotations, and everything else in a (literal) blink of an eye.
Thirdly and finally, I suppose, there's Plotkin's overall view. It's admirable and certainly not to be easily disregarded, that people should listen to many recordings of an opera, listen and read before they attend, and devote as much time as possible to rumination. Unfortunately, it's just not how many people engage with the artform, particularly not newcomers who may be dragged along by an aunt or uncle, or tentatively take their first steps from the back of the balcony. In short, in his attempts to convince readers that they should engage with the artform on his terms (or, at least, on the terms of a longterm opera subscriber in the 20th century), he fails to acknowledge that opera must give some ground. Not necessarily "cheapen" itself as he says, but make some compromises with the Gen Y and Z audiences who simply come from different cultures, even if those cultures are separated by time and not geography.
Before I wrap up, though, it's worth reiterating that this is a great book. Plotkin skilfully leads the reader through operas in four languages as a kind of overall guide, while giving enough information that anyone not feeling terrified after the experience will be able to navigate their way from here. Even when his views feel a little unbalanced, they're worth noting. His greatest concern - that modern audiences will simply engage with the surface-reading of an opera and its words - is valid, since so much of what happens in opera (that is, why it can take someone 20 minutes to say "I love you") is in the rich and deep work of the score.
Anyhow, overall, this is a really good book if you're the kind of novice who can use it as a basis for your own exploration of opera. Just take everything with a grain of salt (as you should be doing anyway!).
And, seriously, that list of recommended recordings at the back of the book might now be outdated by 20 years, but it remains truly stellar.
October 7, 2013
Opera 101 is a bit pedantic in an ingratiating sort of way. It’s also pretty informative and readable. But, as a reviewer here noted, Plotkin can be a little creepy. He seems to have trouble keeping his pants on when he thinks about opera. The big problem, though, is that he expects his readers to buy a dozen CD sets of specific recordings of various operas, then read the accompanying essays, then follow his commentary track by portion of track (and study librettos in the original and translation before attending operas, and avoid performances with supertitles ….).
I imagine this is great for the novice who’s suddenly obsessed, but how often does that happen? If you’d really like to invest that kind of time, energy and cash, this is probably a great guide. My guess is the vast majority of people looking for a general introduction to opera aren’t up for that whole enchilada, so caveat emptor.
I imagine this is great for the novice who’s suddenly obsessed, but how often does that happen? If you’d really like to invest that kind of time, energy and cash, this is probably a great guide. My guess is the vast majority of people looking for a general introduction to opera aren’t up for that whole enchilada, so caveat emptor.
January 11, 2020
I’m not going to lie, I didn’t read this entire book and neither should you.
Chapter 1: 400 years of Opera is absolutely FASCINATING and also 100 pages long, everything you need is right there.
Chapter 3: Going to the Opera is pedantic and skipable. Chapters 4-15 are great primers if you are seeing those particular operas. And the last 80 pages are reference.
Read about 150-200 pages of this book and enjoy every juicy detail, then call it good.
Chapter 1: 400 years of Opera is absolutely FASCINATING and also 100 pages long, everything you need is right there.
Chapter 3: Going to the Opera is pedantic and skipable. Chapters 4-15 are great primers if you are seeing those particular operas. And the last 80 pages are reference.
Read about 150-200 pages of this book and enjoy every juicy detail, then call it good.
December 24, 2022
I've seen a few operas and had been looking for a good overview of the art form when a friend recommended this. It's not the newest book on opera, but as she pointed out, the basics don't change all that much over time. Chapters 2 and 3 are excellent.
Chapter Two describes the importance of the libretto (in the original language), the different voices (lyric sopranos, mezzo sopranos, etc), the various non-singers who help determine what you see onstage (stage director, costume and scenic designers) and much more.
Chapter 3 walks the reader through the intricacies of actually attending a performance. From how to buy tickets, what to wear, and when to applaud, all the bases are covered.
Chapters 4 - 14 (which I admit I have not read--YET) each cover one opera. The author explains that
"in the chapters following this one you will ... study eleven operas that will acquaint you, one by one, with most of the musical and dramatic elements you will ever encounter in an opera house. After learning your first three operas (Rigoletto, Tosca, Lucia de Lammermoor), you will be able to attend a performance of many standard repertory Italian language operas and find it to be a meaningfful experience. After learning your fourth and fifth operas (Il Barbiere di Siviglia, Don Giovanni), your skills will cover an even broader range. . . . With the remaining six operas (Les Contes d'Hoffmann, Eugene Onegin, Don Carlo, Tannhauser, Die Walkure, Elektra), you will significantly deepen youor knowlege and abilities as an opera lover. By the time you have learned Elektra, you will be able to encounter any opera written in the last four centuries and have the skills to understand and appreciate it."
The overall tone of the book is that of a textbook for a course, written in a very agreeable style that is neither haughty nor pedantic. Andecdotes from the author's own long personal experience working in the world of opera are illuminating without calling undue attention or name-dropping (failings I have found with several other opera books I have read in the past).
Sign me up!! I plan to read these chapters one by one, listen to the recommended recordings, and deepen my understanding of opera over the next year. One chapter/opera per month sounds doable!
Chapter Two describes the importance of the libretto (in the original language), the different voices (lyric sopranos, mezzo sopranos, etc), the various non-singers who help determine what you see onstage (stage director, costume and scenic designers) and much more.
Chapter 3 walks the reader through the intricacies of actually attending a performance. From how to buy tickets, what to wear, and when to applaud, all the bases are covered.
Chapters 4 - 14 (which I admit I have not read--YET) each cover one opera. The author explains that
"in the chapters following this one you will ... study eleven operas that will acquaint you, one by one, with most of the musical and dramatic elements you will ever encounter in an opera house. After learning your first three operas (Rigoletto, Tosca, Lucia de Lammermoor), you will be able to attend a performance of many standard repertory Italian language operas and find it to be a meaningfful experience. After learning your fourth and fifth operas (Il Barbiere di Siviglia, Don Giovanni), your skills will cover an even broader range. . . . With the remaining six operas (Les Contes d'Hoffmann, Eugene Onegin, Don Carlo, Tannhauser, Die Walkure, Elektra), you will significantly deepen youor knowlege and abilities as an opera lover. By the time you have learned Elektra, you will be able to encounter any opera written in the last four centuries and have the skills to understand and appreciate it."
The overall tone of the book is that of a textbook for a course, written in a very agreeable style that is neither haughty nor pedantic. Andecdotes from the author's own long personal experience working in the world of opera are illuminating without calling undue attention or name-dropping (failings I have found with several other opera books I have read in the past).
Sign me up!! I plan to read these chapters one by one, listen to the recommended recordings, and deepen my understanding of opera over the next year. One chapter/opera per month sounds doable!
March 31, 2020
While the book was informative at its roots, I disagree with its fundamental construction and tone. Opinion is frequently stated as fact and the author's relentless praise of singular figures and operas gave a very one-sided perspective relative to the length of the book. I could not in good faith recommend this to any opera-curious individual - especially not in this decade. Beginning with 94 pages of an uninterrupted music history lesson before getting to the meat and potatoes of the message was not an effective or engaging strategy for me, and I'm a novice opera fanatic who holds a degree in music! If I had been new to this information I would have stopped reading entirely before 25% of the material was presented.
The content was so haphazardly pieced together that it barely resembled a single product. It tended to read like a series of grad school essays written only to prove that the author had done the "homework" or research. No discernible consideration was given to crafting a unique voice as an author and not enough credibility was established outright to give weight to the onslaught of personal opinions that ensued.
The content was so haphazardly pieced together that it barely resembled a single product. It tended to read like a series of grad school essays written only to prove that the author had done the "homework" or research. No discernible consideration was given to crafting a unique voice as an author and not enough credibility was established outright to give weight to the onslaught of personal opinions that ensued.
July 22, 2020
This book is a comprehensive handbook on the history of opera, as well as a guide to understanding and appreciating opera. 400 years of opera are covered-- quite impressive. In the middle of the book, 11 operas are covered in detail with recommended recordings to use as you study the opera. I was able to watch 3 of the 11 on the Met Opera free live stream as a I read the book, and hope to go back to the book as other operas become available or I see them in person.
Written in 1993, there are a few omissions that even an amateur like me noted. There is no mention of the Philadelphian, tenor Mario Lanza, although he is primarily known for his movie roles rather than for singing in opera houses. Also, there are no details on female composers. If the book is updated, most likely it would mention L'Amour de Loin composed by Kaija Saariaho. This opera is one of only a couple by female composers performed at the Met in the past 100 years! I have seen the Met Opera live in HD version in the movie theater and on TV and hope to see it in person someday.
This book is recommended for opera lovers, opera newbies, people who love drama, people who like longwinded conversations, and those who don't know if they should shout "Bravo" or "Brava" when your favorite performer takes a bow at the end of an opera.
Written in 1993, there are a few omissions that even an amateur like me noted. There is no mention of the Philadelphian, tenor Mario Lanza, although he is primarily known for his movie roles rather than for singing in opera houses. Also, there are no details on female composers. If the book is updated, most likely it would mention L'Amour de Loin composed by Kaija Saariaho. This opera is one of only a couple by female composers performed at the Met in the past 100 years! I have seen the Met Opera live in HD version in the movie theater and on TV and hope to see it in person someday.
This book is recommended for opera lovers, opera newbies, people who love drama, people who like longwinded conversations, and those who don't know if they should shout "Bravo" or "Brava" when your favorite performer takes a bow at the end of an opera.
February 5, 2022
I absolutely loves the Opera and Classical music. Was excited when I found this audiobook.
Eh, it should have been a great listen but it was not.
Eh, it should have been a great listen but it was not.
Read
April 7, 2015After reading Ann Patchett's Bel Canto I found out about this great primer on opera. It was a suggested further reading.
I was fortunate in finding it at the NYPL and read it. I honestly thought Plotkin's summary of 'the first 400 years of opera history' was a fantastic survey of the history of this art form, its genesis, and adoption and interpretation by different countries throughout the ages.
He then break down all manner of things about opera: intepretations, voices, etc. And then he prepares you for a lesson in learning to hear and appreciate opera in selecting ten operas for you to research and listen.
I only did the first one of the course: Rigoletto. I got the recording Plotkin suggested and the libretto from the NYPL and listened and read along. Very much enjoyed the experience. I should go see a live performance. Lack of time and resources.
I was fortunate in finding it at the NYPL and read it. I honestly thought Plotkin's summary of 'the first 400 years of opera history' was a fantastic survey of the history of this art form, its genesis, and adoption and interpretation by different countries throughout the ages.
He then break down all manner of things about opera: intepretations, voices, etc. And then he prepares you for a lesson in learning to hear and appreciate opera in selecting ten operas for you to research and listen.
I only did the first one of the course: Rigoletto. I got the recording Plotkin suggested and the libretto from the NYPL and listened and read along. Very much enjoyed the experience. I should go see a live performance. Lack of time and resources.
April 8, 2023
This author seems to desire his readers to believe he is proudly steeped into the long, long tradition of of opera snobbery. To sweeten the appeal of this, he's also keen on telling us, within the first few of the book's start, that he was 'made love to a certain opera', and thus his-subjective-experience-will-be-different-than-yours...etc.
I think it takes a special, distasteful talent to come off as unbearably condescending and impressively creepy at the same time. Definitely not the 'friend' or me.
I think it takes a special, distasteful talent to come off as unbearably condescending and impressively creepy at the same time. Definitely not the 'friend' or me.
August 18, 2018
A great introduction that doesn't hit you over the head with too much information while also not full of fluff, either. The first half of the book is a history of opera, introduction to some of the technical terms, and advice on considerate opera-going. At this point in time, some of the advice on attending an opera is a little out of date, as this book was published pre-internet, but most of it still stands. The second half of the book is a list of ten recommended opera recordings and a step-by-step guide through them. The recordings selected are truly excellent -- I've attended a number of operas and viewed Live at the Met recordings more than a few times, but have never heard anything like this. Plotkin definitely knows what he's talking about! And as of this writing, all of the recordings are available on spotify, which makes them easy to track down. It took me a long while to find the time to listen to all 10 operas, but having finally finished, I'm really glad I did. I did deduct a star from my rating because I was expecting a little bit more from the sections on each opera. Here and there Plotkin provides true insight, but for the most part, they're just synopses of the operas, even though he recommends reading the synopses already before each act of the opera, so I'm not sure why he includes this redundancy. I was hoping to get more detail on the "why" of opera, but didn't. (For example, why is this performance considered better than others? How does this conductor or singer interpret the music differently? Why did the composer write in a particular style, and what was the larger cultural context at the time of writing? These topics are sometimes covered, but only very briefly.) Maybe the finer points of opera are something that can never be adequately explained, but I do wish I could start to bridge the gap between appreciating opera and actually understanding it. Maybe in Opera 102! With that said, it's definitely still worth reading the second half to pick up on the nuggets of insight that are nestled within what is otherwise just synopsis.
May 14, 2025
Now, then, you will see men love
As in real life they love, and you will see
True hatred and its bitter fruit. And you will hear
Shouts of both rage and grief, and cynical laughter.
Mark well, therefore, our souls,
Rather than the poor players' garb
We wear, for we are men
Of flesh and bone, like you, breathing
The same air of this orphan world.
This, then is our design. Now give heed
To its unfolding.
-- Tonio, "Si può? Si può"
from Pagliacci, Ruggero Leoncavallo
To me, opera is about consideration of the human experience. Opera audiences become so involved with performances because they face emotional truths most of us don't confront in daily life. The late twentieth century, with its rapid-fire information flow, does not make room for the reflection that opera affords. During a three-hour operatic performance one can focus on the issues that opera explores and find personal meaning in them. Every human emotion and activity -- love, lust, incest, hatred, fidelity, bravery, fear, humor -- is enacted in opera, but on a grand scale. It's like going to an amusement park and looking at yourself in one of those elongated fun-house mirrors. What we see in opera is ourselves, as long as we are honest enough to admit it.
As in real life they love, and you will see
True hatred and its bitter fruit. And you will hear
Shouts of both rage and grief, and cynical laughter.
Mark well, therefore, our souls,
Rather than the poor players' garb
We wear, for we are men
Of flesh and bone, like you, breathing
The same air of this orphan world.
This, then is our design. Now give heed
To its unfolding.
-- Tonio, "Si può? Si può"
from Pagliacci, Ruggero Leoncavallo
To me, opera is about consideration of the human experience. Opera audiences become so involved with performances because they face emotional truths most of us don't confront in daily life. The late twentieth century, with its rapid-fire information flow, does not make room for the reflection that opera affords. During a three-hour operatic performance one can focus on the issues that opera explores and find personal meaning in them. Every human emotion and activity -- love, lust, incest, hatred, fidelity, bravery, fear, humor -- is enacted in opera, but on a grand scale. It's like going to an amusement park and looking at yourself in one of those elongated fun-house mirrors. What we see in opera is ourselves, as long as we are honest enough to admit it.
There are three things in the world I love most -- the sea, Hamlet, and Don Giovanni.
-- Gustave Flaubert
September 12, 2022
Operal 101 is a perfectly apt title for this introduction into the world of opera—that fictional universe where everything is communicated through the heady combination of song, story, orchestral music, drama, and stagecraft. Though I had already begun my exploration into opera, and was not exactly a newbie, I learned much in this guide about the history, intent, analysis, and appreciation of what this artform is all about.
Written in the mid-90s, the book is a bit dated when the author informs the reader as to how to get tickets, who the current and upcoming voices are, etc. But that is easily overlooked with the book’s depth in exploring the timeless and significant values of opera.
The author also doesn’t hesitate to offer his many opinions on various operatic matters, but he is always upfront about their very subjective nature. And he mentions often that the world of opera is saturated with never ending debate about which works (and performers) are great, or not so great.
Opera always has been, and will be experienced by people who are extremely passionate about the art. For a fun visual look into that, check out Jean Beraud’s painting, “ An Argument in the Corridors of the Opera.”
Written in the mid-90s, the book is a bit dated when the author informs the reader as to how to get tickets, who the current and upcoming voices are, etc. But that is easily overlooked with the book’s depth in exploring the timeless and significant values of opera.
The author also doesn’t hesitate to offer his many opinions on various operatic matters, but he is always upfront about their very subjective nature. And he mentions often that the world of opera is saturated with never ending debate about which works (and performers) are great, or not so great.
Opera always has been, and will be experienced by people who are extremely passionate about the art. For a fun visual look into that, check out Jean Beraud’s painting, “ An Argument in the Corridors of the Opera.”
August 20, 2025
Opera 101: A Complete Guide to Learning and Loving Opera by Plotkin Fred
8 out of 10
The scope of this book is remarkable.
I can only wish that the infamous Mission Accomplished could be flaoting in the wind after reading this work.
- Only opera will still be as far away from this reader as it was when listening to the Complete Guide
A masterpiece, any work of art depends on the audience and some say it is more about the reflection of what the recipient has inside than about intrinsic merits.
It also depends on the reder’s inclination towards Merit or Fault Finding, if he or she is a Satisficer or a Maximizer.
To start with criticism, fault finding and the maximizing habits:
- I suppose the reader of the book is the author himself- I am not exactly sure- but this was a mistake in this case
- While trying to approach this i have a habit of engaging with other novels or guides, applying the positive psychology rule from the book The Science of Happiness by the wondrous Stefan Klein:
- We need variety
While Plotkin Fred is not marvelous at reading- if he is the the one reading- and has something that sounds like a speech impediment, Paul Auster does a great job when reading his own 4321, really lonbg as that is.
There is another problem of this listener and that is the lack of real attention and concentration in relation with Opera 101
After all, it has been sitting on my Goodreads shelf for four years...maybe, in the category Curently Reading.
Mihaly Csikszentmihalyi the genius co-founder of Positive Psychology has a classic masterpiece on being in the zone:
- Flow
A reader will learn from it about optimal experience and how to reach Nirvana- well, that is more of an attempt to joke.
Mihaly Csikszentmihalyi has studied what makes people get into FLOW and there are some conditions...
- One of the rules, the necessary principles involved in Being in the Zone is Concentration, Attention
In other words, if one does not pay attention, does not concentrate on the reading of Opera 101, or any other book, there are no chances to reeach Flow.
It is also true that, no matter how interesting in principle the subject is, learning more about the Opera, there is no chance in hell that i would really become a regular presence on the seats of the Opera House.
Having said that, there is much to recommend the book, for a more serious reader or listener who pays attention and concentrates.
The title is somewhat pompous and too glorious for its own sake, in promisisng to some extent that you would:
- Learn and Love the Opera and furthermore...this is The Complete Guide
- I mean come on, is it really?
Yes, we learn about the „introductory operas” the more accesible works that a novice can take on at an early stage.
The author also talks about more difficult fare, like Czech composers and he even mentions our very own George Enescu...that i meet at the pool...no, this is just a man with the smae name, but not the late composer.
This reader will remain a fan of extatic passages, the famous araias and marches, but when a teenager I was bored twice during the whole length of performances, and once it was one of the best- Aida by Giuseppe Verdi
- The triumphal march from Aida- I even know the words, the Papageno- Papagena Duet from Die Zauberflöte- this is phenomenal, Henry Purcell’s Cold Song is a favorite that I find both funny and touching, The Flower Duet from Léo Delibes' opera Lakmé is out of this world ad so is The Barber of Seville, but also, for this limited music lover, only some of the famous segments...
We have two macaws and one is named Balzac, but the other Puccini, so there was some interest in this kind of music before Opera 101...
But, quoting a totally diferent genre- Magnum Force with Clint Eastwood- „one has to know his limitations...
https://www.youtube.com/watch?v=O5lRq...
8 out of 10
The scope of this book is remarkable.
I can only wish that the infamous Mission Accomplished could be flaoting in the wind after reading this work.
- Only opera will still be as far away from this reader as it was when listening to the Complete Guide
A masterpiece, any work of art depends on the audience and some say it is more about the reflection of what the recipient has inside than about intrinsic merits.
It also depends on the reder’s inclination towards Merit or Fault Finding, if he or she is a Satisficer or a Maximizer.
To start with criticism, fault finding and the maximizing habits:
- I suppose the reader of the book is the author himself- I am not exactly sure- but this was a mistake in this case
- While trying to approach this i have a habit of engaging with other novels or guides, applying the positive psychology rule from the book The Science of Happiness by the wondrous Stefan Klein:
- We need variety
While Plotkin Fred is not marvelous at reading- if he is the the one reading- and has something that sounds like a speech impediment, Paul Auster does a great job when reading his own 4321, really lonbg as that is.
There is another problem of this listener and that is the lack of real attention and concentration in relation with Opera 101
After all, it has been sitting on my Goodreads shelf for four years...maybe, in the category Curently Reading.
Mihaly Csikszentmihalyi the genius co-founder of Positive Psychology has a classic masterpiece on being in the zone:
- Flow
A reader will learn from it about optimal experience and how to reach Nirvana- well, that is more of an attempt to joke.
Mihaly Csikszentmihalyi has studied what makes people get into FLOW and there are some conditions...
- One of the rules, the necessary principles involved in Being in the Zone is Concentration, Attention
In other words, if one does not pay attention, does not concentrate on the reading of Opera 101, or any other book, there are no chances to reeach Flow.
It is also true that, no matter how interesting in principle the subject is, learning more about the Opera, there is no chance in hell that i would really become a regular presence on the seats of the Opera House.
Having said that, there is much to recommend the book, for a more serious reader or listener who pays attention and concentrates.
The title is somewhat pompous and too glorious for its own sake, in promisisng to some extent that you would:
- Learn and Love the Opera and furthermore...this is The Complete Guide
- I mean come on, is it really?
Yes, we learn about the „introductory operas” the more accesible works that a novice can take on at an early stage.
The author also talks about more difficult fare, like Czech composers and he even mentions our very own George Enescu...that i meet at the pool...no, this is just a man with the smae name, but not the late composer.
This reader will remain a fan of extatic passages, the famous araias and marches, but when a teenager I was bored twice during the whole length of performances, and once it was one of the best- Aida by Giuseppe Verdi
- The triumphal march from Aida- I even know the words, the Papageno- Papagena Duet from Die Zauberflöte- this is phenomenal, Henry Purcell’s Cold Song is a favorite that I find both funny and touching, The Flower Duet from Léo Delibes' opera Lakmé is out of this world ad so is The Barber of Seville, but also, for this limited music lover, only some of the famous segments...
We have two macaws and one is named Balzac, but the other Puccini, so there was some interest in this kind of music before Opera 101...
But, quoting a totally diferent genre- Magnum Force with Clint Eastwood- „one has to know his limitations...
https://www.youtube.com/watch?v=O5lRq...
February 25, 2020
Solid introduction to opera, for the complete newbie, or even opera lovers who have concerns that they have holes in their experience (I'm in the second group, being very light on non-Italian operas). Plotkin sets up the history, terminology, and how opera operates, and then goes through top aspects of 11 major operas (and specific recordings). Great choice of operas, in terms of which recordings (and why), what order to approach them, and things that are helpful to know before listening.
The version I had was a 2002 audiobook, and some of the practical advice (about getting tickets, and getting recordings, etc.) is now dated and some specific singers named have since retired (or are dead).
Since this was produced, it's even easier for opera lovers to get access to great performances, though, as Plotkin says, it's best if you can go to a performance live, because it is so different when ou're in the opera house and can decide where to look, rather than where a camera has been pointed. Also, the way you experience the sound in a great opera house is far beyond what you can set up in a home stereo system, or even a livecast to a movie theater.
The version I had was a 2002 audiobook, and some of the practical advice (about getting tickets, and getting recordings, etc.) is now dated and some specific singers named have since retired (or are dead).
Since this was produced, it's even easier for opera lovers to get access to great performances, though, as Plotkin says, it's best if you can go to a performance live, because it is so different when ou're in the opera house and can decide where to look, rather than where a camera has been pointed. Also, the way you experience the sound in a great opera house is far beyond what you can set up in a home stereo system, or even a livecast to a movie theater.
May 13, 2024
I started this long ago, but this year I’ve decided to “study up” on one topic for 6 months—reading, listening to lectures, and seeing as much as I can. First was opera (upcoming: Dutch masters and Japanese woodblock prints).
To be honest, I’m saving some of the chapters until just before the Met broadcasts them. Plotkin gives an excellent, history, great insight into plots and how to listen, and a touch of wit and opinions throughout. I took away one star only because this book is 30 years old and his discussion of great singers really needs updating. For example, he mentions Dimitri Hvorostovsky as a “newcomer”.
As much or more info as you’d get in a college course, and engagingly told.
To be honest, I’m saving some of the chapters until just before the Met broadcasts them. Plotkin gives an excellent, history, great insight into plots and how to listen, and a touch of wit and opinions throughout. I took away one star only because this book is 30 years old and his discussion of great singers really needs updating. For example, he mentions Dimitri Hvorostovsky as a “newcomer”.
As much or more info as you’d get in a college course, and engagingly told.
July 27, 2018
What’s good about this book? The author makes clear that there is a lot to learn about opera and imparts a lot of information about opera in general and some specific operas.
What’s not so good? The author is so condescending that it reminds you of all of the opera-going stereotypes you have ever heard.
Also, the author expects you to go get eleven libretto and recordings and do tons of homework. WHy not just explore three or four operas and include the musical clips where appropriate? I don’t have time to go through the music of eleven operas in the course of reading one book. This man takes himself far to seriously and is intensely juspdgmental about other types of performance.
What’s not so good? The author is so condescending that it reminds you of all of the opera-going stereotypes you have ever heard.
Also, the author expects you to go get eleven libretto and recordings and do tons of homework. WHy not just explore three or four operas and include the musical clips where appropriate? I don’t have time to go through the music of eleven operas in the course of reading one book. This man takes himself far to seriously and is intensely juspdgmental about other types of performance.
January 17, 2025
I'm a firm believer in prior knowledge as an essential step to enjoying opera as I find the suggestion one can just fall in love with it on first visit without any at least basic preparation a bit dubious (sorry, Pretty Woman). This was a bit pompous and a bit outdated (still baffled why a book published in 1994 refers to Dvořák and Smetana as composers from Czechoslovakia) but ultimately a very thorough and detailed guidebook for people who want to learn how to like opera, or, like me, just want to understand it better.
June 11, 2017
Great introduction to the history of opera, the main genres and some listening techniques. I used this book as the basis for an opera course I designed for myself. The only negative about the book is that almost all of the recordings specifically analyzed in the book were impossible to find now. Some snippets were available on streaming services but you also need the libretto and these simply aren't available unless you have the physical media.
February 25, 2019
I enjoyed reading this book and living through it the many situations and plots of all its heroes and heroines, all the drama and the romance and the tragedies of the stories lying within these operas. it also greatly informed me about this art form and music and gave me an insight into human nature.
May 17, 2019
What an incredible journey that I have started with this excellent book on Opera. I have learned so much and truly appreciate these masterpieces! The book covers 11 operas - diff kinds, languages, composers. Thoroughly enjoyable.
March 7, 2021
Ambitious, disorganized, but rewarding in some meta-leitmotifs (Plotkin’s self-referential humour on his choosing operas that feature storms) and almost two dozen recommendations on operas and their recordings. No longer relevant in its synopses or interpretations, but worth a quick scan.
August 21, 2019
Very comprehensive but sometimes dry and sometimes patronizing.
July 14, 2020
Excellent intro to opera.Love the irreverent tone.I learned so much while watching Met HD at home during covid 19.
June 27, 2021
It's a wonderful reference should you want and need it.
May 15, 2025
A good introduction. I might go back and finish it someday.
Want to read
June 1, 2025recommended by
by Ann Patchett in
Bel Canto (Paperback)
Also recommends reading libretti about an opera
by Ann Patchett in
Bel Canto (Paperback)
Also recommends reading libretti about an opera
February 26, 2023
Amazing amazing amazing, Knew virtually nothing about opera aside from colloquialisms , and this book revealed the depth of my ignorance. but also revealed a want to know opera in more depth and with more appreciation for the fantastic art it is and has been for centuries.
So inspiring, that during my Trip to Italy for my 50th Birthday this year, we landed in Rome and that night went to see La Traviata with our dear friends the Funes. My companions were jet lagged, I alone was enthralled, THAT is true friendship :)
So inspiring, that during my Trip to Italy for my 50th Birthday this year, we landed in Rome and that night went to see La Traviata with our dear friends the Funes. My companions were jet lagged, I alone was enthralled, THAT is true friendship :)
This entire review has been hidden because of spoilers.
February 4, 2017
Knowing precisely nothing about opera before I cracked open this book, I wasn't sure exactly how far I was going to get. Admittedly, I liked the idea of becoming someone who enjoyed opera, but actually getting started and understanding how to enjoy one seemed like a sizable hurdle. This book was an immense help.
Mr. Plotkin's approach to seeing an opera--to prepare yourself beforehand, to review the music a couple times, both with and without the libretto in hand, before you step foot in the opera house--can seem like a lot of work at first. But the benefits are well worth the effort. For starters, you'll be less reliant on the supertitles that many opera houses use these days. You'll be able to focus on the music, the voices, and the gestures without spending most of your time reading.
With an understanding of an opera's music and the plot, you'll also be better equipped to make the leap from the composer's original setting to the modern, updated settings in which some operas are occasionally staged. It's not always a problem, but this kind of thing can be confusing sometimes if you don't first understand the composer's original intentions.
There's also the simple thrill of hearing an aria that you've gradually come to enjoy--because you've familiarized yourself with the music--live. It's an opportunity to not only enjoy the music and singing but to see how it compares with what you've reviewed.
Recently, I was at an opera in which the supertitles somehow got out of alignment with the singing. This would have been frustrating to say the least for someone coming in cold. However it was not an issue for me because, following Mr. Plotkin's advice, I had a decent handle on the plot and the music before I went in.
Mr. Plotkin's approach to seeing an opera--to prepare yourself beforehand, to review the music a couple times, both with and without the libretto in hand, before you step foot in the opera house--can seem like a lot of work at first. But the benefits are well worth the effort. For starters, you'll be less reliant on the supertitles that many opera houses use these days. You'll be able to focus on the music, the voices, and the gestures without spending most of your time reading.
With an understanding of an opera's music and the plot, you'll also be better equipped to make the leap from the composer's original setting to the modern, updated settings in which some operas are occasionally staged. It's not always a problem, but this kind of thing can be confusing sometimes if you don't first understand the composer's original intentions.
There's also the simple thrill of hearing an aria that you've gradually come to enjoy--because you've familiarized yourself with the music--live. It's an opportunity to not only enjoy the music and singing but to see how it compares with what you've reviewed.
Recently, I was at an opera in which the supertitles somehow got out of alignment with the singing. This would have been frustrating to say the least for someone coming in cold. However it was not an issue for me because, following Mr. Plotkin's advice, I had a decent handle on the plot and the music before I went in.
January 15, 2016
This is a really thorough, educated, and well organized TEXTBOOK. I picked it up and put it down for a few months, slowly working my way through the history of opera. If I could have kept my interest burning a little longer I could have gotten to the chapters where Plotkin breaks down individual operas. I appreciate that he lists specific recordings of operas to listen to as you read about them and an extensive appendix listing opera houses around the world. If only he could visit me in person and take me to an actual opera, all the time pointing out the greatness and explaining the talents of each singer.
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