# What Verdi operas to listen to next...



## Spearmint (Sep 1, 2018)

I am hoping for some advice. 

So far, I have listened to three Verdi operas: La Traviata, Aida and Il Trovatore. I usually spend six to eight weeks listening to a new opera for about 30-40 minutes a day. I have grown extremely fond of those three over time.

I want to pick four more Verdi operas to listen to this year. If you are familiar with Verdi, please suggest four besides those that you would recommend next. 

Bonus: Suggest a Wagner opera that you would recommend to someone who does not listen to Wagner operas. This person is not musically sophisticated, has a short attention span and likes tunes.


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## Belowpar (Jan 14, 2015)

I'm sure you'll love Rigoletto and UN Ballo. Then a later masterpiece like Don Carlos or Otello.



Spearmint said:


> Bonus: Suggest a Wagner opera that you would recommend to someone who does not listen to Wagner operas. This person is not musically sophisticated, has a short attention span and likes tunes.


There's nothing wrong with dipping your toes into The Ring with a single CD highlights collection.

Enjoy.


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## The Conte (May 31, 2015)

The Wagner is easy. Try Rienzi (or Wagner's operetta as I call it).


As you have already listened to Traviata and Trovatore, you should give the other work of the mid period 'trio' a go: Rigoletto. I would also suggest Otello which many consider to be his greatest opera. La forza del destino is another good one to experience and I would also suggest listening to one of his early operas to get an idea of the variety of his output. Macbeth is fantastic. I hope this is just the start of your Verdi listening experience, there's a wealth of wonderful works there.

N.


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## Tsaraslondon (Nov 7, 2013)

If confined to just four, I would probably go for *Rigoletto* next, and then turn to *Un Ballo in Maschera*.

As Le Conte points out *Otello* is often considered his greatest opera, so you should probably go for that too.

I love Verdi so much, I find it hard to choose just one more, but most Verdians find *Don Carlo* a magnificent, if flawed, work. It might even be my favourite, though, as I've often stated before, my favourite Verdi opera tends to be the one I'm listening to or watching at the time.


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## Tuoksu (Sep 3, 2015)

Macbeth is a must, Rigoletto, Don Carlo, Nabucco.


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## wkasimer (Jun 5, 2017)

Rigoletto, definitely. And I'd also recommend Simon Boccanegra and Forza del Destino. The latter isn't considered one of Verdi's best, but it's got some terrific tunes. And Don Carlo is essential - I think that it's Verdi's greatest.

As for Wagner, Tannhauser and Lohengrin have the best tunes, even if they're far from Wagner's greatest works. You also might consider Meistersinger.


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## davidglasgow (Aug 19, 2017)

Spearmint said:


> I am hoping for some advice.
> 
> So far, I have listened to three Verdi operas: La Traviata, Aida and Il Trovatore. I usually spend six to eight weeks listening to a new opera for about 30-40 minutes a day. I have grown extremely fond of those three over time.
> 
> ...


La Traviata, Aida and Trovatore were good introductions to Verdi.

*Rigoletto*, like La Traviata and Trovatore, is a winner and you'll probably recognise a lot of the famous music - especially "La donna e mobile", Gilda's aria "Caro Nome" and the quartet "Bella figlia dell'amore". 









*Macbeth* is a terrific opera which does not drag it's feet and the music is very distinctive: there are some great set-pieces including the jagged music for the chorus of witches, the hushed and excited music for Lady Macbeth (later there is the Sleepwalking scene), the neurotic Macbeth has attracted some of the best baritones.





*Ernani* has some marvellous music as well - not least for the chorus. There are some all-star cast recordings which show there are meaty roles for tenor, soprano, baritone and bass.





*Otello* is a later opera, composed after Aida, and the style is bit different from the Verdi operas you've already heard. There are recognisable arias - Iago's evil "Credo", Desdemona's "Ave Maria" and Otello's "Nium mi tema" - but the action arguably keeps moving to a greater extent. I think the ensemble where the Desdemona/Otello/Iago/Emilia plots come together is genius and the duet for tenor and baritone in Act 2 is electric





I wouldn't particularly pick Vespri Siciliani, I Lombardi, or I Due Foscari to start with: for me they don't gel as well as the others although they all have their moments

Cheers


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## Spearmint (Sep 1, 2018)

Thanks to all for the suggestions. This has really helped me get settled on a list of operas for the upcoming year.


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## hpowders (Dec 23, 2013)

An underrated Verdi masterpiece is Simon Boccanegra.


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## SixFootScowl (Oct 17, 2011)

Spearmint said:


> I usually spend six to eight weeks listening to a new opera for about 30-40 minutes a day.


I hope your listening includes some while watching on DVD with subtitles. That has been a huge help to me.



Spearmint said:


> I want to pick four more Verdi operas to listen to this year. If you are familiar with Verdi, please suggest four besides those that you would recommend next.


My favorite is Trovatore. I would suggest also Oberto, Aroldo, and Simon Boccanegra. Do you enjoy the works of any other opera composers besides Verdi and your newly piqued interest in Wagner?



Spearmint said:


> Bonus: Suggest a Wagner opera that you would recommend to someone who does not listen to Wagner operas. This person is not musically sophisticated, has a short attention span and likes tunes.


I highly recommend Der Fliegende Holländer. It was my first step into Wagner. Although I must admit that there is a wonderful tune near the end of Meistersinger, but it is a long 3-4 hours to get there. No, go with the Hollander first. It is closer to 2 hours and is from before Wagner moved to musical dramas (both are great but more tunes will be found in the Hollander).


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## nina foresti (Mar 11, 2014)

_Lohengrin_ is probably the most Italianate of Wagner's operas. I would start on that one first if I wasn't a Wagner fan.

Verdi's _Don Carlo_ and _Otello_ are so powerful that they are among my top 5 favorite operas. Next 2 would be _Rigoletto_ and then _Aida_ for the spectacle for a newbie but speaking frankly I prefer Un _Ballo _to Aida myself.


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## Meyerbeer Smith (Mar 25, 2016)

Spearmint said:


> I am hoping for some advice.
> 
> So far, I have listened to three Verdi operas: La Traviata, Aida and Il Trovatore. I usually spend six to eight weeks listening to a new opera for about 30-40 minutes a day. I have grown extremely fond of those three over time.
> 
> ...


My four Verdi suggestions:

_Rigoletto_ - his opera about a profligate nobleman (based on a king) who gives parties, goes around in disguise, gets involved with a curse, his henchman tries to kill him, and all ends badly. Dramatic irony and black comedy; three memorable leads; and a couple of opera's most famous numbers ("La donna è mobile" and the quartet).

_Un ballo in maschera_ - his _other_ opera about a profligate nobleman (based on a king) who gives parties, goes around in disguise, gets involved with a curse/prophecy, his henchman tries to kill him, and all ends badly.
Probably his cleverest opera, with, for once, a sense of humour.
My commentary: https://operascribe.com/2018/08/09/77-vendetta-in-domino/

_Don Carlos_ - A French grand opéra about politics and passion in 16th century Spain. One of Verdi's richest, most complex works. Listen to it in French, _not_ Italian.

_Otello_ - Verdi's penultimate work, based on Shakespeare, after a silence of nearly 2 decades. A kind of super-concentrated Italian opera: all the great bits, none of the longueurs, with better orchestration.

As for Wagner:
For canonical opera, _The Flying Dutchman_. It's short, straightforward, and has several famous numbers: the stormy overture, the spinning chorus, Senta's dream, and the double chorus.

I'd also suggest Wagner's early opera _Das Liebesverbot_; it's his attempt to be the next Auber or Rossini, and write a jolly comic opera. Has a brilliant overture, and some lively, toe-tapping tunes. The opening performance was a notorious fiasco, and it was never again performed in Wagner's lifetime - but there's a lot to like.

_Tannhauser _has a lot of popular hits - the Hymn to the Evening Star, the entry of the guests, the pilgrims' chorus, and _that_ overture - and some fine arias, duets, and ensembles (especially the massive Act II finale). It's quite static, though; all the conflict is abstract / in the hero's soul; there's an endless scene with Venus; and the tournament of love is pretty boring.

_Lohengrin_ is my favourite Wagner; it's a tale of doomed love in the Middle Ages. A wonderful first act, with arias, duets, and choruses in a through-composed whole, à la French grand opera; some beautiful vocal writing for the heroine Elsa; rousing ensembles; and the sublime Grail Narration ("In fernem Land").

The later ones are music dramas. YMMV.


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## howlingfantods (Jul 27, 2015)

I agree with several of the responders -- Otello, Don Carlo, Rigoletto, Ballo would be next picks too. I'd suggest these following recordings:

Otello: https://www.prestoclassical.co.uk/classical/products/7958448--verdi-otello

Excellent live recording, with a superb Domingo in the lead, and strong principals in Tomowo-Sintow and Bruson, in good stereo sound. Much more affordable on Presto than on Amazon US at the moment.

Ballo: https://www.amazon.com/dp/B0015RSV44/

Studio recording, can be picked up very cheap used, and is outstanding overall with Margaret Price my favorite Amelia

Don Carlo: https://operadepot.com/products/verdi-don-carlo-freni-carreras-ludwig-ghiaurov-cappuccilli-karajan

Outstanding 4 act version, live in good stereo. If you check the Opera Depot site every week or so you'll eventually hit it on half off sales, usually around holidays although the site owner seems to be skipping this labor day

Rigoletto: https://www.amazon.com/dp/B0052MLZ4G

A studio recording, again available for very cheap used. My favorite recordings of Rigoletto are actually mono recordings, many in much worse sound--the 1945 Sodero, the 1930 Molajoli, the 1955 Serafin, the 1954 Questa. But the Sinopoli I linked is one of the stronger choices in good stereo sound--he has some eccentric tempo choices at times but it's a wonderful performance.

For Wagner, I agree with Belowpar about starting with a Ring highlights collection, since that was how I personally got into Wagner--I actually suggest a 2 disk compilation instead of a 1 disk one. Here's one that's virtually free + shipping used, with a very well stocked selection of highlights from one of the best stereo Rings, the Bohm performances from Bayreuth in the mid 60s: https://www.amazon.com/dp/B0000041EJ/


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## amfortas (Jun 15, 2011)

Certainly Rigoletto, Otello, Don Carlo.

Since you like to spend a lot of time listening, why not explore Don Carlo in both Italian and French, 5-act and 4-act versions? One way of getting to know a work really well is by comparing its multiple versions.


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## Annied (Apr 27, 2017)

Spearmint said:


> I am hoping for some advice.
> 
> So far, I have listened to three Verdi operas: La Traviata, Aida and Il Trovatore. I usually spend six to eight weeks listening to a new opera for about 30-40 minutes a day. I have grown extremely fond of those three over time.
> 
> ...


Someone after my own heart! I'd say go for "I due Foscari", "Attila", "Don Carlo" and "La forza del destino".


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## Spearmint (Sep 1, 2018)

Thanks again to all. 

I ordered before I saw a lot of the CD recommendations.

I ordered, so far: 
Rigoletto (Solti, Merrill, Moffo)
Don Carlo (Karajan, Meletti, Gruberova)

I'll look next for an Otello. 

Opera is an acquired taste for me. I usually don't enjoy an opera on first listening. (I hate gypsies in any storyline, for instance.) Then find a few tracks I latch onto. Then I gradually begin to love the whole thing. It's a process of many weeks for me. 

Operas I have listened to carefully: Marriage of Figaro, Magic Flute, La Traviata, Aida, Cosi Fan Tutte, Il Trovatore 

Operas in the trunk of my car that I am going to work on: Barber of Seville (semi-familiar), Don Giovanni (semi-familiar), Abduction from the Seraglio. Plus my new Verdis when they come. 

Opera I bought but I cannot get into: Eugene Onegin. 

Operas that I will be purchasing: Otello, another Verdi I will choose after carefully analyzing your suggestions, Carmen and Lucia di Lammermoor. 

Wagner may be a pipe dream for me at this point, but I want to try something by him and find out.


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## Tsaraslondon (Nov 7, 2013)

Spearmint said:


> Thanks again to all.
> 
> Don Carlo (Karajan, Meletti, Gruberova)


The cast of this confused me a little until I remembered that Gruberova plays the minor role of Tebaldo on the Karajan, and Meletti the even smaller role of the Herald. The leading roles are sung by Freni, Carreras, Baltsa, Cappuccilli and Ghiaurov. It's a very good performance but the sound is a bit of a problem with an impossibly wide dynamic range (with the volume turned up loud enough to hear the quieter passages, you are apt to be blasted out of your seat in the louder ones).


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## SixFootScowl (Oct 17, 2011)

Spearmint said:


> (I hate gypsies in any storyline, for instance.)


You might appreciate the gypsy in Mascagni's L'amico Fritz. Very nicely done and not overbearing.


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## howlingfantods (Jul 27, 2015)

GregMitchell said:


> The cast of this confused me a little until I remembered that Gruberova plays the minor role of Tebaldo on the Karajan, and Meletti the even smaller role of the Herald. The leading roles are sung by Freni, Carreras, Baltsa, Cappuccilli and Ghiaurov. It's a very good performance but the sound is a bit of a problem with an impossibly wide dynamic range (with the volume turned up loud enough to hear the quieter passages, you are apt to be blasted out of your seat in the louder ones).


This is exactly why I recommend the OperaDepot live Salzburg performance from a few years before Karajan's studio recording--the recorded sound is much more natural than the studio recording, which as with much of Karajan's late 60s and 70s output I find unnatural to the point of being distracting at times.

The cast is similar--the two share Freni, Cappuccilli, Ghiaurov and even both include the luxury casting of Van Dam for Un Frate--but I prefer the 1975 Salzburg cast over the studio recording. Domingo over Carreras is a significant plus for me in this role, where Ludwig instead of Baltsa is a minus but not by a significant amount.

There's also a 1979 Vienna Staatsoper Karajan recording with Carreras/Freni/Cappuccilli/Baltsa/Raimondi but I think the 1975 is a better performance, and I like the sound balance between singers and the orchestra better. Much cheaper too.


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## Tsaraslondon (Nov 7, 2013)

howlingfantods said:


> The cast is similar--the two share Freni, Cappuccilli, Ghiaurov and even both include the luxury casting of Van Dam for Un Frate--but I prefer the 1975 Salzburg cast over the studio recording. Domingo over Carreras is a significant plus for me in this role, where Ludwig instead of Baltsa is a minus but not by a significant amount.


I'd find it hard to do without Baltsa, the main reason for me acquiring the Karajan studio recording in the first place. She and Verrett are my favourite Ebolis.


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## howlingfantods (Jul 27, 2015)

GregMitchell said:


> I'd find it hard to do without Baltsa, the main reason for me acquiring the Karajan studio recording in the first place. She and Verrett are my favourite Ebolis.


Baltsa is quite good--I think I tend to think less of Eboli's music than some other Don Carlo fans, so the Eboli casting is a little less important to me, but I do agree that Verrett and Baltsa are two of the better Ebolis I've heard. I do think Ludwig's performance is also quite good in the 1975 Salzburg, although apparently she was having enough vocal problems that she withdrew from the production after the recorded performance. It's barely noticeable in the performance though--there's some uncharacteristic shortness of breath in one or two spots, a note or two that she slid off, but the voice itself sounds good and strong.

The 1979 Orfeo recording might suit you then, it's Carreras/Freni/Cappuccilli/Baltsa with Raimondi as Phil. I like the sound mix a little better in the Salzburg 1975 but the 1979 is still far better than Karajan's studio recording.


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## Sloe (May 9, 2014)

Don Carlo:











Love it.


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## Spearmint (Sep 1, 2018)

howlingfantods said:


> This is exactly why I recommend the OperaDepot live Salzburg performance from a few years before Karajan's studio recording--the recorded sound is much more natural than the studio recording, which as with much of Karajan's late 60s and 70s output I find unnatural to the point of being distracting at times.


Well. You all are light years ahead of me, obviously. Hopefully, I will not be able to tell the difference and I drive with one hand on the volume dial in my car anyway. Tell me that the orchestra does not overpower the singers, because even I will notice that.

I got the Karajan one because this is my Aida and I like it quite a bit:

https://www.amazon.com/Aida-Verdi/dp/B000KLRUKC


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## Winslow (Jun 11, 2018)

My personal favorite: La Forza Del Destino, studio recording by Maria Callas.


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## howlingfantods (Jul 27, 2015)

Spearmint said:


> Well. You all are light years ahead of me, obviously. Hopefully, I will not be able to tell the difference and I drive with one hand on the volume dial in my car anyway. Tell me that the orchestra does not overpower the singers, because even I will notice that.
> 
> I got the Karajan one because this is my Aida and I like it quite a bit:
> 
> https://www.amazon.com/Aida-Verdi/dp/B000KLRUKC


Actually that overly wide dynamic range thing we're talking about is probably going to be most noticeable listening while driving around I would think. You're likely going to have to constantly twiddle the dial to make the soft parts audible, and then get deafened when the orchestral tuttis come in.

That Aida you have is from earlier from Karajan's career when that his recordings weren't as characterized by this tendency towards extreme volumes. But, you know, listen to the one you ordered and see. If you're happy with the dynamic range on his Don Carlo, then great--if not, and you get sick of dial fiddling, then remember that there are alternatives, especially if you don't mind recordings of live performances.


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## DavidA (Dec 14, 2012)

I'd next go to Rigoletto which was my introduction to opera. I bought the Solti / Merrill version as a lad (it cost the princely sum of £4 which was a fortune for me then in the early 1960s). Solti rushes the thing too much but the soloists are brilliant. 

Of course, Verdi's greatest opera is Falstaff but it should be seen as well as being heard

As for Wagner I cannot think of any complete opera of his for someone who has a short attention span and likes tunes. I did, however, get hold of a copy of Voigt and Domingo singing the love duet from Tristan which was arranged for concert performance by Wagner himself. Might be a good place to start.


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## BalalaikaBoy (Sep 25, 2014)

Spearmint said:


> I am hoping for some advice.
> 
> So far, I have listened to three Verdi operas: La Traviata, Aida and Il Trovatore. I usually spend six to eight weeks listening to a new opera for about 30-40 minutes a day. I have grown extremely fond of those three over time.
> 
> ...


Nabucco and Attila are my favorites.


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## The Conte (May 31, 2015)

Since it takes you a while to get into complete operas, have you thought about getting extract discs?

for example, the easiest Wagner opera to get into is probably Tannhauser, you could start with this disc of excerpts:








N.


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## Fidelio101 (Sep 19, 2018)

I Vespri siciliani. You probably know some of the arias but it is really beautiful and contains a ballet/ Try to get the recording with Arroyo.


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## Spearmint (Sep 1, 2018)

The Conte said:


> Since it takes you a while to get into complete operas
> 
> N.


I am committing myself to about two years of dedicated listening and I'm hoping to get through about 14-16 operas. I'm hitting a birthday milestone, and its time to stop fooling around. I have squandered my life on FM radio and the three minute song.

So, I'm going to try to do complete operas. Except Wagner. It's highlights for him.

How long does it take everyone else to get to know an opera?

Thanks to all for the continued suggestions. I am finishing up Abduction from the Seraglio (Menuhin conducting), so Rigoletto is next.


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## The Conte (May 31, 2015)

It depends how many times I listen to an opera how long it takes to get to know it and how well you mean.

I would say ten times to recognise the melodies and know where they come in the piece.

N.


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## Belowpar (Jan 14, 2015)

Spearmint said:


> How long does it take everyone else to get to know an opera?
> 
> .


That's an interesting Question and worth its own thread.

It all depends.....


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## SixFootScowl (Oct 17, 2011)

Spearmint said:


> Except Wagner. It's highlights for him.
> 
> How long does it take everyone else to get to know an opera?


Wagner's Flying Dutchman (Der fliegende Holländer) is easy to take in in its entirety. Its just a little over 2 hours long. (My DVD recommendation)

In any case, the best way I have found to really get to know an opera is to watch a good DVD or several DVDs of it with the subtitles turned on. Then you would want to read an entire libretto, which comes with some CD releases or can be bought separately, or often can be found online for free.


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## davidglasgow (Aug 19, 2017)

Fritz Kobus said:


> Wagner's Flying Dutchman (Der fliegende Holländer) is easy to take in in its entirety. Its just a little over 2 hours long. (My DVD recommendation)
> 
> *In any case, the best way I have found to really get to know an opera is to watch a good DVD or several DVDs of it with the subtitles turned on. Then you would want to read an entire libretto, which comes with some CD releases or can be bought separately, or often can be found online for free*.


That's very good advice - I remember watching and re-watching a version of La Boheme on Sky Arts (also on DVD) sung in English - I believe Alfie Boe and Melody Moore were in the cast and it was directed by Jonathan Miller. The combination of it being in the vernacular and having subtitles really helped deepen my understanding of that opera and what precisely was going on (I'm not an Italian speaker). It also meant that I could dip in and out while doing other things, enjoying the music in the background and quickly catch up when I heard a favourite segment or a particular melody caught my attention.

I'm not sure if Chandos' Opera in English series of Verdi recordings might be a good way for the original poster to learn the operas? Having said that, artists singing in English is not always a guarantee that you can make out the words and meaning: an occluded English accent can mean that you could still rely on a libretto to plot your course...in which case the original Italian or French would be preferable.


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## Annied (Apr 27, 2017)

davidglasgow said:


> That's very good advice - I remember watching and re-watching a version of La Boheme on Sky Arts (also on DVD) sung in English - I believe Alfie Boe and Melody Moore were in the cast and it was directed by Jonathan Miller. The combination of it being in the vernacular and having subtitles really helped deepen my understanding of that opera and what precisely was going on (I'm not an Italian speaker). It also meant that I could dip in and out while doing other things, enjoying the music in the background and quickly catch up when I heard a favourite segment or a particular melody caught my attention.
> 
> I'm not sure if Chandos' Opera in English series of Verdi recordings might be a good way for the original poster to learn the operas? Having said that, artists singing in English is not always a guarantee that you can make out the words and meaning: an occluded English accent can mean that you could still rely on a libretto to plot your course...in which case the original Italian or French would be preferable.


I'd approach that way with caution; changing the language can change the whole experience for some of us. I speak as a lady who only recently and after many years, has realised that "O Divine Redeemer" and "Repentir" are one and the same. (The former I can take or leave, the latter has always been a favourite.) While it may not be true for everyone, because we all hear things differently, how the actual sound of the words fits with the music can be all important.


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## mountmccabe (May 1, 2013)

Spearmint said:


> Opera is an acquired taste for me. I usually don't enjoy an opera on first listening. (I hate gypsies in any storyline, for instance.) Then find a few tracks I latch onto. Then I gradually begin to love the whole thing. It's a process of many weeks for me.
> 
> [...]
> 
> Operas that I will be purchasing: Otello, another Verdi I will choose after carefully analyzing your suggestions, Carmen and Lucia di Lammermoor.


I would like to point out, though it may already be entirely clear, that Carmen from _Carmen_ is a gypsy. She is a well-drawn character, but, yeah.



Spearmint said:


> How long does it take everyone else to get to know an opera?


I typically don't focus on a single opera at a time. I approach an opera from several different ways, over time, alongside several other operas. When I am trying to become acquainted with an opera (such as for an upcoming performance) I tend to listen to famous arias, overtures, suites, and other excerpts from the opera to get an idea of the music. Especially if something there catches my ear, I will jump to listening to a full recording and/or watching a video of the opera. Somewhere in there I will likely read a synopsis, and maybe the libretto, or even peek at the score.

One thing that I often find helpful is the Opera Explained series on Naxos. Over one CD (70-80 minutes) the opera and how it works is discussed, with regular illustrative musical examples. The discs often start with background on the composer and their other works, the era and other related composers, and so on, but the bulk of the time is spent on narrating the plot with musical highlights. I don't think the discussions are overly technical, musically. And while I occasionally quibble with the interpretations or other stances taken they do tend towards the neutral/traditional.

This is the one for Rigoletto.

There are maybe 30 of these, so a good number of the most popular operas are covered.


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## Spearmint (Sep 1, 2018)

mountmccabe said:


> I would like to point out, though it may already be entirely clear, that Carmen from _Carmen_ is a gypsy. She is a well-drawn character, but, yeah.
> ...
> 
> One thing that I often find helpful is the Opera Explained series on Naxos. Over one CD (70-80 minutes) the opera and how it works is discussed, with regular illustrative musical examples. The discs often start with background on the composer and their other works, the era and other related composers, and so on, but the bulk of the time is spent on narrating the plot with musical highlights. I don't think the discussions are overly technical, musically. And while I occasionally quibble with the interpretations or other stances taken they do tend towards the neutral/traditional.
> ...


There seems to have been an obsession with the exoticism of gypsies in the 1700-1800s. Oddly, I worked with settled gypsies in the US many years ago, which I doubt most people have. They were a traditional community, suspicious of the vices of mainstream America. Girls were raised to do housework and marry early within the group. Boys were being allowed some schooling because they needed to read in order to work as mechanics, which was a main occupation. It was all very controlling for those involved. The whole experience disabused me of any notions of the freewheeling, free-spirited gypsy.

Nevertheless, I love Trovatore for all the wrong reasons. I could never get up any sympathy for baby-killer Azucena or Manrico, who seems a little dim at times. Instead, I adore Count di Luna and consider him one of the most emotionally appealing characters in the whole opera. Plus, there is a Trovatore movie from the 1970s on Youtube with a fabulous di Luna. I love that guy. The music of the whole thing is beautiful and exciting, although it took me the usual eight weeks to figure that out.

Carmen pretty much seems to be required listening. It's number one on all the lists. Someone should recommend a good version. Only not with Maria Callas. Don't ask.

My public library has some of the Naxos lectures, so I sometimes download them to my tablet. I have listened to Cosi fan tutte, Il Trovatore, La Traviata, Magic Flute and maybe one other. You're right, they are very interesting.


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## AlexD (Nov 6, 2011)

Rigoletto is one I'd recommend you spend some time with. It has some great tunes.


Rather than go for a whole Wagner opera, why not go for a highlights CD? Panorama/DG produced two double CD sets. One was highlights from (Karajan's) the Ring, but the other was highlights from 6 other Wagner operas. If you must have one opera, then Th eFlying Dutchman works well on its own.


The panorama sets can be found 2nd hand for not much money.


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## cancui (Jan 19, 2019)

I'll suggest _La Forza del Destino_ and _Don Carlo(s)_. Both are emotionally appealing, with a feeling of "dark fate" throughout that Verdi actually loves a lot.

The plot of _Forza_ doesn't make lots of sense but it contains some of Verdi's greatest arias and duets.

As for _Don Carlo_, so much could be talked about from both a psychological and political standpoint. It's my favorite Verdi and I've been exploring this work for years. People talk about versions above, and I think 4-act Italian has the best structure, 5-act Italian includes the Fontainebleau scene which I like a lot, and the original French has a clearer plot with extra brilliant music.


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## Sonata (Aug 7, 2010)

I strongly recommend Jonas Kaufmann's album of Wagner arias. I had just about given up on anything but orchestral segments of Wagner's music, but this album helped me actually like some of his vocal writing as well


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