# Next Operas to get into



## xpangaeax (Oct 1, 2013)

OK guys I'm hooked. I went to "Die Zauberflöte" at The Met last weekend with my Grandmother and the deal was finally sealed. I'm curious as to which ones I should move on to next, given the taste profile I'll try and outline here. I have heard or seen:

Zauberflöte (Magic Flute) - seen at the Met
Don Giovanni (seen the clips in Amadeus, listened in full)
Entführung Aus Dem Serail (seen the clips in Amadeus)
Götterdämmerung (heard only - actually quite nicely suited the 6 hour bus ride home from New York last week!)
Die Walküre (heard only)
Un Ballo In Maschera (seen in Met HD Broadcast)

Of these, the only thing I wasn't really sold on was "Un Ballo..." (though Hvorostovsky was remarkable obviously.) The common musical elements in the others that I like most are the prevalence of baritone/tenor vocalists and, we'll say "darker" or mystical overtones musically and thematically (Masonic rites, Nordic legends...) The last bit of Don Giovanni with the statue coming to dinner and the temple scenes in Magic Flute are two of my favorites - especially with the deep male choruses. This isn't of course to say that these are the ONLY aspects I like, as I certainly don't want to be dismissing things like the Queen Of The Night's Arias for example. Is this a newbie issue? I feel like the general populace dislikes Opera and the common criticism is usually the Soprano vocals.

Given this information, what else would I enjoy? I have the rest of the Ring Cycle to listen to, and the local Opera company in Richmond is doing Salome and La Traviata in the Spring, so I'll certainly be seeing those.

Any insight appreciated!


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## Sloe (May 9, 2014)

The rest of the Ring Cycle.


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## Blue Miasma (Oct 17, 2014)

I'm a beginner too and going on the above I recommend :
Mozart - Le Nozze di Figaro 
Wagner - Tristan und Isolde 
Rossini - Il Barbiere di Siviglia 
Puccini - Turandot 
Verdi - Rigoletto 
but as I'm new to Opera my recommendations are limited but I honestly don't think you can go wrong with them as next steps, forget about criticism regarding Soprano vocals at this stage as for a beginner that stuff doesn't really matter just yet imo just enjoy the beauty of Opera and let the pros have their lengthy debates over high D's and wobbly lines and all that jazz, sorry for the short answer but I can't be late for work


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## brotagonist (Jul 11, 2013)

I 'cut my teeth' on Berg's Wozeck and Lulu. Of the very few operas I have purchased on disc, I consider these two to be essential, whether you are into opera or not.

A recent addition that I recommend most highly is Bernd Alois Zimmermann's Die Soldaten. Gasp! Swoon! all the way through. It is marvellous.


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## xpangaeax (Oct 1, 2013)

Brotagonist I will have a look at those recommendations. Unfamiliar with either composer really.

Blue Miasma - I've only really heard the "cinque dieci" bit from Nozze, but honestly I'm pretty sure Mozart was just a master of the Opera and I'll explore his full repertoire for sure. Getting into more Wagner outside of the ring cycle also seems like a good step to take. Thanks for the replies so far!


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## Blake (Nov 6, 2013)

Try Handel. He was a master of the form for sure. Most of his themes are quite mystical.

_Alessandro
Alcina
Ariodante
Giulio Cesare_

And of course more Mozart. You know the big names.

And Rameau's _Hippolyte Et Aricie_, among others.


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## mountmccabe (May 1, 2013)

xpangaeax said:


> Of these, the only thing I wasn't really sold on was "Un Ballo..." (though Hvorostovsky was remarkable obviously.) The common musical elements in the others that I like most are the prevalence of baritone/tenor vocalists and, we'll say "darker" or mystical overtones musically and thematically (Masonic rites, Nordic legends...) The last bit of Don Giovanni with the statue coming to dinner and the temple scenes in Magic Flute are two of my favorites - especially with the deep male choruses. This isn't of course to say that these are the ONLY aspects I like, as I certainly don't want to be dismissing things like the Queen Of The Night's Arias for example. Is this a newbie issue? I feel like the general populace dislikes Opera and the common criticism is usually the Soprano vocals.
> 
> Given this information, what else would I enjoy? I have the rest of the Ring Cycle to listen to, and the local Opera company in Richmond is doing Salome and La Traviata in the Spring, so I'll certainly be seeing those.
> 
> Any insight appreciated!


It also seems to me that general public/newbies have the most trouble with higher voices, sopranos, countertenors, etc. I know it took me a little while to appreciate these vocals.

Wagner will do very well for you; _Götterdämmerung_ is the only opera of the Ring that includes a chorus (but the others are fantastic as well). _Parsifal_ would be a good next Wagner opera for you based on your comments, though most of his operas should do you well.

Mussorgsky's operas, _Boris Godunov_ and _Khovanschina_ also have big roles for deep voices and strong choruses. Both are Russian history epics.

Weber's _Der Freischütz_, Strauss' _Die Frau ohne Schatten_ and Dvořák's _Rusalka_ all have mystical elements that you may like.


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## Blake (Nov 6, 2013)

Those Handel operas I recommended also might be a bit hard to get into with the heavy use of wild vibratos.


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## nina foresti (Mar 11, 2014)

Treat Grandma to the new Met Macbeth with a cast that is stellar and rare to find all in one opera.
Just GO!!!!


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## Guest (Oct 22, 2014)

Cosi Fan Tutte is my favorite Mozart opera. The music is elevated. 

Orfeo, Monteverdi*(John Eliott Gardiner recording)— the first operatic masterpiece, and still stands as one of the best operas ever written, even though it's an early opera style (no arias). 

Maybe a Bel Canto opera next? L'Elisir D'Amore by Donizetti is fully approachable and thoroughly enjoyable!


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## xpangaeax (Oct 1, 2013)

mountmccabe said:


> Mussorgsky's operas, _Boris Godunov_ and _Khovanschina_ also have big roles for deep voices and strong choruses. Both are Russian history epics.


Yes yes yes. I'm somewhat of a Russophile in many regards, so I will definitely put these on priority. All suggestions made so far in the thread I have saved in my Spotify list. God, technology is so nice.

Nina - I'm certain she's going or has already gone. She subscribes to the Met every year. I'm hoping to make it up for another one in the Spring!


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## xpangaeax (Oct 1, 2013)

Vesuvius said:


> Those Handel operas I recommended also might be a bit hard to get into with the heavy use of wild vibratos.


I listened to Giulio Cesare at work last week and was definitely a little put off by the heavy vibrato in the sopranos. I'm sure it's something I could learn to appreciate as with many aspects of music. I'll keep picking at the list however.


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## xpangaeax (Oct 1, 2013)

I'm currently listening to Wagner's Flying Dutchman in full for the first time (kinda poked around it last night while reading the libretto.) I chose it because the National Opera in Washington, DC is doing a production in the Spring that I intend to go up for (opening night is the same night as a Lang Lang Matinee performance...) Anyway, I really like it so far. Lots of baritone/tenor, mystical theme that I think will lend itself greatly to the stage, and dark music.


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## sharik (Jan 23, 2013)

Bizet Carmen first.


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## Pugg (Aug 8, 2014)

You should try some Verdi opera's.
Start with La Traviata :tiphat:


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## Speranza (Nov 22, 2014)

Faust by Gounod has the supernatural elements you are looking for a famous Bass role and the baritones definitely outnumber the one and only tenor. Russian opera especially Mussorgsky is great for deep male singing in my opinion.

Having said that carry on with composers you already know you like especially Wagner as he has lots of the supernatural like Lohengrin, Flying Dutchman, Tannhauser, Tristan and Isolde and obviously the Ring. Don't you dare forget Mozart though as he has some of the best operas


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## MagneticGhost (Apr 7, 2013)

So you like Wagner ----- Parsifal and Tristan und Isolde are just musically beyond reproach.

So you like Mozart ------- The Marriage of Figaro isn't considered by many to be the best Opera ever written for nothing.

So you like a bit of Russian ----- Look no further than Tchaikovsky's Eugene Onegin or Borodin's Prince Igor. Both Chock-full of great tunes.


I would also point you in the direction of Britten's Peter Grimes - an absolute masterpiece.


And when you're ready - have a listen to Berlioz's Les Troyens.


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## xpangaeax (Oct 1, 2013)

I just need the time to listen to all of these! At 2-3 hours a pop, it's a really tough genre to break into, since there's so much of a repertoire to really absorb.


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## Albert7 (Nov 16, 2014)

I would recommend for American opera either Doctor Atomic by John Adams or Vanessa by Samuel Barber.


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## xpangaeax (Oct 1, 2013)

Guys. I think I don't like Verdi. I felt mostly "whatever" about Un Ballo In Maschera when I saw it, and am currently making my third attempt at La Traviata, and wholly uninterested. Please reprimand accordingly.


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## Albert7 (Nov 16, 2014)

Also why not Bizet's Carmen too? Very melodic in fact


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## sospiro (Apr 3, 2010)

xpangaeax said:


> Guys. I think I don't like Verdi. I felt mostly "whatever" about Un Ballo In Maschera when I saw it, and am currently making my third attempt at La Traviata, and wholly uninterested. Please reprimand accordingly.


I would never reprimand anyone because of their personal taste ... but there are other Verdi operas.

:devil:

01. Oberto, Conte di San Bonifacio (17th November, 1839; Teatro alla Scala, Milan)
Libretto: Piazza, Merelli, Solera

02. Un giorno di Regno (5th September 1840; Teatro alla Scala, Milan) 
Libretto: Romani

03. Nabucco (9th March 1842; Teatro alla Scala, Milan)
Libretto: Solera

04. I Lombardi alla Prima Crociata (11th February 1843; Teatro alla Scala, Milan)
Libretto: Solera

05. Ernani (9th March 1844; Teatro la Fenice, Venice)
Libretto: Piave

06. I due Foscari (3rd November 1844; Teatro Argentina, Rome)
Libretto: Piave

07. Giovanna d'Arco (15th February 1845; Teatro alla Scala, Milan)
Libretto: Solera

08. Alzira (12th August 1845; Teatro San Carlo, Naples)
Libretto: Cammarano

09. Attila (17th March 1846; Teatro la Fenice, Venice)
Libretto: Solera, Piave

10. Macbeth (14th March 1847; Teatro della Pergola, Florence)
Libretto: Piave, Maffei

11. I masnadieri (22nd July 1847; Her Majesty's Theatre, London)
Libretto: Maffei

12. Jérusalem (26th November 1847; Académie Royale de Musique, Paris)
Libretto: Royer, Vaëz

13. Il corsaro (25th October 1848; Teatro Grande, Trieste)
Libretto: Piave

14. La battaglia di Legnano (27th January 1849; Teatro Argentina, Rome)
Libretto: Cammarano

15. Luisa Miller (8th December 1849; Teatro San Carlo, Naples)
Libretto: Cammarano

16. Stiffelio (16th November 1850; Teatro Grande, Trieste)
Libretto: Piave

17. Rigoletto (11th March 1850; Teatro la Fenice, Venice)
Libretto: Piave

18. Il trovatore (19th January 1853; Teatro Apollo, Rome)
Libretto: Cammarano, Bardare

19. La traviata (6th March 1853; Teatro la Fenice, Venice. 6th May 1854; Teatro San Benedetto, Venice)
Libretto: Piave

20. Les Vêpres Siciliennes (13th June 1855; Académie Impériale de Musique, Paris)
Libretto: Scribe, Duveyrier

21. I Vespri siciliani (26th December 1855; Parma under the name of Giovanna di Guzman)
Libretto: Scribe, Duveyrier

22. Simon Boccanegra (12th March 1857; Teatro la Fenice, Venice)
Libretto: Piave

23. Aroldo (16th August 1857; Teatro Nuovo, Rimini)
Libretto: Piave

24. Un ballo in maschera (17th February 1859; Teatro Apollo, Rome)
Libretto: Somma

25. La forza del destino (10th November 1862; Bolshoi Theatre, St. Petersburg)
Libretto: Piave

26. Macbeth revised (21st April 1865; Théâtre Lyrique, Paris)
Libretto: Piave, Nuitter, Beaumont

27. Don Carlos (11th March 1867; Académie Impériale de Musique, Paris)
Libretto: Méry, Du Locle

28. La forza del destino revised (27th February 1869; Teatro alla Scala, Milan)
Libretto: Ghislanzoni

29. Aïda (24th December 1871; Opera House, Cairo. 8th February 1872; Teatro alla Scala, Milan)
Libretto: Ghislanzoni

30. Simon Boccanegra revised (24th March 1881; Teatro alla Scala, Milan)
Libretto: Boito

31. Don Carlo translated into Italian and revised (10th January 1884; Teatro alla Scala, Milan)
Libretto: Boito

32. Otello (5th February 1887; Teatro alla Scala, Milan)
Libretto: Boito

33. Falstaff (9th February 1893; Teatro alla Scala, Milan)
Libretto: Boito


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## Speranza (Nov 22, 2014)

xpangaeax said:


> currently making my third attempt at La Traviata, and wholly uninterested. Please reprimand accordingly.


No reprimand needed :lol:. I watched La Traviata 3 or 4 times wasn't really interested, the music was ok, story couldn't quite get my head around. Thought I would give it one more shot and Boom I loved it, it all suddenly made sense and the music was beautiful (best overture ever). This was over a period of about five years so whether I knew more about opera by then or maybe my taste had developed I don't know, sometimes these things need time. Or you could just not like Verdi 

Anyway If I don't like an opera I give it 3 goes (in case I had a bad day/the opera was a terrible production) then just drop it for a few good years. Often when I try it again I appreciate it more for example I hated Aida (Verdi) and now I like it enough to sit through the whole thing.


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## xpangaeax (Oct 1, 2013)

Yes, maybe it will make sense soon. Virginia Opera is doing La Traviata in the Spring, and I'll give it another go then.


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