Customer Reviews

Opera as Drama: Fiftieth Anniversary Edition

5 star:		(3)
4 star:		(0)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Why does opera exist as a form? Why do people attend operas, and listen to them? Why should you do so? This classic, brilliant book by Kerman makes the case clearly and strongly.

Opera is drama; beyond the staged spectacles and emblambed warhorses that seem to draw the biggest audiences, opera exists to convey drama, especially the drama of interior actions, emotions and existence. This is why characters are singing, not merely speaking.

Kerman uses the examples, in case study form, of arguably histories greatest operas to point out why the form exists and thrives, and also what makes a work good, and what makes one fail. He begins with Monteverdi and ends with 20th century works like "Wozzeck" and "The Rakes Progress," while also covering Verdi, Wagner, Mozart. His chapter on Mozart's operas is one of the greatest pieces of musical critical thinking that has been written, it explains the greatness of Mozart as an opera composer and also the near-greatness, and flaws, of "Don Giovanni" and "Cosi fan tutte." Kerman also points out what some popular works fail as drama, and thus as opera.

This is the single best work to introduce listeners to the form. Highest recommendation.

The comon view of opera is recitative=drama, arias=music, and therefore not drama. Kerman makes a different (and therefore genuine) claim. he says that in opera the music IS the drama. To illustrate this, he enters a thorough venture in the world of opera, from the first masterpiece - Monteverdi's "orfeo" to wagner and modern operas. The work includes a discussion of the works of such giants as verdi and mozart, and also a critical look at the Leitmotive technics. Kerman is imaginative, provocative, write in a clear language. altough the book demands a background in opera appreciation. It does not demands a musical background. To some it is almost "the bible" of opera understanding. A master achievement.

This is one of the most thought-provoking books on music I have read. While you may not always agree with him, Kerman makes you think through your attitudes and ideas. I gained much insight from him and recommend this book highly to those who want to delve deeply into opera.

Hard read.

Thanks to Haifa reviewer, I will persist since I share the same view with the the author. Opera can be deadly boring without the hope and fear of 'will he win?' 'will he fail?' of drama. Deadly.

Da Ponte spent a lot of time on Cherubino popping in and out of that chair. The other guys cannot just stand around and sing about different things with him lurking back there.

Even if the roulette wheel may be fixed, it is the only wheel in town. This is all there is out there on opera as drama.

The author may often be obscure but once you penetrate the foliage, he is dramatic.