Let’s explore further a topic that we discussed a few months back, inspired by a recent article in the New York Times by the eminent music critic Anthony Tommasini on the nature of bel canto.  Does this elusive Italian term describe a style of musical composition, especially in terms of melodic direction, or a composer’s sensitivity to words?  Or both?  You be the judge!

We all know that opera and dance have been intertwined since the beginning, and in France they were co-equal arts living in the same space.  But have you ever given thought to all of those moments in opera where dance actually moves the drama along, not a tacked on, pretty addition to the opera but an important part of the narrative?  Let's talk about it!

In a series of occasional surveys of specialized voice types here are a few words (and a few sound clips) of every opera lover's stratospheric dream...the coloratura soprano.  When the composer says 'jump', she asks 'how high?'

Whatever happened to recitative?  Did it die with Donizetti or did composers somehow carry on the style?  And more importantly, does recitative still have a place in so called modern opera?

Let's continue our discussion of the opera overture by looking at Mozart, Rossini and the composers of our 2009 Season operas.  More on the evolution of the overture...

Let's take a little time out to focus on the role of the orchestra in opera, beginning at the beginning: the overture.  What is the role of the overture?  Since it's the first music you hear, it's pretty important, right?  Well, maybe.  Here's a brief history.

Are you dreading it?  Are you looking forward to it?  You're just putting up with it because your wife wants to go?  Which opera is good to bring the kids to?  Give me 15 minutes, I'll show you how to have a good time at the opera, from dinner before to drinks after!

Britten, the composer of "Peter Grimes" which San Diego Opera will be producing in 2009,  was a crucial link to composers today who work in the English language.  Let's explore his contribution to the art.

Besides defining just what a cadenza is, let's go a bit further and ask ourselves if there are dramatic or even emotional reasons for cadenzas, or are they just an opportunity for a singer to milk applause from the audience?

In my humble opinion, Massenet and Puccini are speaking essentially the same language and share a similar turn-of-the-century aesthetic.  Listen in and see if you agree!

Yes it's a formidable name, but it's one of the most easily recognizable techniques that composers use to pull their operas together.  Spend a few moments and let me give you some great examples from our 2009 season!

A little summer diversion: there are so many good recordings of Tosca out there, but which ones are best?  I'm not sure, but here are some of my favorites, recordings that you'll be able to find on Amazon.com.

Recitative.  It's a word you hear thrown around a lot in operatic circles, but do you know what it really means?  Not to worry...here's everything you need to know about recitative and then some.  You'll be thanking me when you can use it intelligently during the next intermission at the opera.  Your friends will be impressed.  Seriously.

What's up with operas like Aida, The Pearl Fishers, Madama Butterfly and Turandot?  Nineteenth century opera seemed to corner the market on exotic locales. 

OK, OK, I was just trying to get your attention.  Nothing salacious here, just a brief overview of the guys at the bottom.  No, really!

The old man knew what he was doing: he wanted opera to be real theatre.  And if a Verdi opera doesn't come off that way, then something's wrong.

The baritone is the man's man of opera.  If George Clooney were an opera singer, he'd probably be one.  But he's not.  So we won't go there.

Because.  A brief history of Italy and its relationship to one of her most glorious exports.  Besides limoncello.  Say Euridice three times fast.

Mamas, witches and gypsies.  And real women with an independent streak.  If The Sopranos were an opera, Livia would be one.  A mezzo, that is.

A brief history of something you didn't know existed until you started coming to San Diego Opera.  Why don't we just call it a song and be done with it?

The sopranos all die and the tenors have all the sex.  Wassup wid dat?

Maybe it oughta be.  But short answer: no.  Tune in the long answer.  It's got something to do with beautiful singing and we've got it!

...or Carmela or Meadow or Johnny Sack.  But if you want to get to know the other sopranos, tune in.  Coloraturas, dramatics, lyrics...they're all gorgeous and they're all here.

Something kind of cool happens when words and music meet.  You know, your song??  It reminds you of when you met that special person...where you were, what you did, maybe even what time it was.  Multiply that by one hundred and you have opera!