A Book of Operas: Their Histories, Their Plots, and Their Music

audiobook

A Book of Operas: Their Histories, Their Plots, and Their Music

by Henry Edward Krehbiel

EN·~8 hours·35 chapters

Chapters

35 total

Chapter I "Il Barbiere di Siviglia"

0:44

Chapter II "Le Nozze di Figaro"

0:30

Chapter III "Die Zauberflöte"

0:37

Chapter IV "Don Giovanni"

0:49

Chapter V "Fidelio"

0:39

Chapter VI "Faust"

0:45

Chapter VII "Mefistofele"

0:45

Chapter VIII "La Damnation de Faust"

0:22

Chapter IX "La Traviata"

0:35

Chapter X "Aïda"

0:31

Description

Step into the world of opera with a concise, lively guide that weaves together history, storyline, and music in equal measure. Written as a series of chapters, each entry treats a masterpiece as a living conversation—offering background on its debut, anecdotes about early performances, and clear explanations of the plot without assuming any prior knowledge. The tone is personable, peppered with witty quotations that recall the charm of old friends and forgotten salons.

From Rossini’s sparkling comedy in Il Barbiere di Siviglia to Mozart’s witty intrigue in Le Nozze di Figaro and the mystical charm of Die Zauberflöte, the book follows each work’s journey across continents, highlighting how singers, conductors, and even political climates shaped their reception. Readers also meet Beethoven’s moral drama in Fidelio and the haunting romance of Gounod’s Faust, with useful notes on famous arias, overtures, and memorable staging moments. Whether you’re a newcomer curious about why these operas endure, or a seasoned listener seeking fresh context, the guide invites you to hear the music with a richer, more vivid imagination.

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Details

Language

en

Duration

~8 hours (484K characters)

Publisher of text edition

Project Gutenberg

Release date

May 1, 2004

Rights

Public domain in the USA.

About the author

Henry Edward Krehbiel

Henry Edward Krehbiel

1854–1923

A sharp-eared guide to America’s musical life at the turn of the 20th century, he spent more than four decades as the chief music critic of the New York Tribune. His writing helped shape how concertgoers and readers understood composers, opera, and orchestral music.

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