Opera 101: A Complete Guide to Learning and Loving Opera

My brother tried to get me interested in opera 50+ years ago, and I waved the opportunity. Who wants to waste their time listening to a bunch of overweight people shirking in a foreign language. Well, time has a way of maturing all of us. I recently became interested in how the voice is used in singing, and opera aria's soon became the best examples. I soon discovered that the techniques used in singing opera are those demanded by the composer - surprise. I began listening to aria's by various opera singers, and finally decided that I needed to focus my efforts to really learn something. I ordered Plotkin's book, because the title implied that I would start from the basics - I am well pleased. Plotkin takes you through opera history, the jargon, attending your first opera, and then introduces you to eleven opera's that show different techniques and theme's. That depth was needed by a 75 year old neophyte who wanted to learn. Some of the material was absorbed quickly, and the rest will take longer; perhaps a lifetime. Plotkin gives you a method of preparing for an opera, that, if followed, assures you will enjoy yourself. Wish I had listened to my brother years ago, but Plotkin's book helps me in correcting the misteak. I highly recommend the book, and know that everybody will get something out of it.

"Opera 101" is well written, easy to understand, and very informative. I wish every subject had a reference book so excellent.That said, there is one aspect of the book worth being aware of from the outset. The included discussion of eleven key operas relies on the reader's ability to get ahold of certain recommended recordings. To purchase those recordings is extremely expensive. I bought "Opera 101" because I didn't know anything about opera, and one of the first things I learned as result of buying this book is that a single opera recording can cost more than $50. Unless you have a well stocked public library, access to an internet music service that includes the suggested recordings, a friend with an extensive opera collection, or money to burn, you will not get the most out of "Opera 101."**UPDATE: In response to some of the comments on this review, I have added this update to clarify that my issue was with the unexpectedly high (for me, as a consumer learning about opera) costs of the specific recordings cited in the book. If the author had also, on top of his preferred suggestions, included recommendations for more budget friendly recordings, that would have bumped this book up to 5 stars for me.I will also take this opportunity to add that in the years since I first read Opera 101, it has served me extremely well. Besides helping me develop what is looking to be a life long love of opera, it has also given me the ability to hold my own in conversations about the art with individuals with many more years of opera appreciation under their belts.

This is an entertaining read, and it contains a lot of interesting information. The book effectively communicates the author's enthusiasm for his subject, and it will make you want to listen to the eleven operas discussed. However, it is not without its weaknesses.First of all (and this is the most serious criticism), for insightful musical analysis you will have to look elsewhere; what Plotkin tells you about the music is roughly what you would have noticed anyway on a first superficial hearing. Some of his other comments are rather strange; for example, almost everything is claimed to be driven by the one topic "sex" (but more about this later).Also, curiously for an introduction that aims to bring newcomers to opera, light-hearted, guiltless fun is eschewed in favor of profound suffering. In only one out of the eleven operas discussed (Rossini's Barbiere), no one dies on stage. From Donizetti, we don't get L'Elisir or Don Pasquale; instead, we have to suffer through Lucia. When it comes to Strauss, you were probably looking forward to Rosenkavalier or perhaps hoping for at least Ariadne or Arabella, but of course Plotkin shows no mercy and instead gives us Elektra. Well, you say, then perhaps Offenbach's Tales of Hoffmann will be good for some fun, but Plotkin is quick to point out that this is to be appreciated as a tragic opera.Some aspects of Plotkin's style can get a little annoying. We're constantly being reminded that he is "teaching" us, favorite phrases are "at this point in your training", "as you will learn" etc. You will also be told what to eat before going to the opera.Finally, it seems that Plotkin must have a bet going that in his book he can use the word "sex" more frequently than in the current issue of Playboy Magazine. In this spirit, Fred (as I'm now sure we may call him) right in the introduction lets us know, as is common among serious authors, to the sounds of which love duet he lost his virginity.

The most user-friendly and accessible book about opera I've read so far. Fred Plotkin is impressive not only for his knowledge of opera but for his urbane, positive underlying philosophy: his tolerance, love for the arts and for life in general - the sort of person it would be good to know and to have as a friend. The book begins with some general comments (the most enjoyable is on page 146, the 'essential secret that opera lovers know and those on the outside never suspect'), and then goes on to explore eleven operas in more detail. The point of view is of a genial mentor, guiding newcomers to the opera world through some of the world's most loved operas, using methods that will allow them to grow in confidence and knowledge. I have only one suggestion - the book, published in 1994, needs an update. The advent of Youtube, live streaming and opera in HD has given beginners an economical way to learn about opera. It would be good to have Plotkin's thoughts on how this could be done, and whether he thinks the new technology will threaten or enhance the development of opera in the future.

I bought it to read.

This book is an excellent starter guide to opera.The style is very accessible and the author covers everything I need to know as a complete newcomer to this art form.I have had my nose buried in it since it arrived yesterday.

This is a very good book. It is easy to read,and you can dip in and out of it. It gives a good overview of Opera in general and then goes on the examine a few Operas from each style. It also gives recommendations for which recordings to listen to. It is not a synopsis of each opera, but if you love the genre and want to learn more and appreciate it better this is an excellent book.Update: my dad now uses this to prepare for his U3A Opera Appreciation Group.

El libro es bastante entretenido. Tras tres capítulos introductorios (unas 150 pags.) sigen 12 capítulos dedicados a óperas específicas que usa como hilo conductor. Son las siguientes: Rigoletto, Tosca, Lucia Lammermoor, Barbiere, Don Giovanni, Contes Hoffmann, Eugene Onegin, Don Carlo, Tannhauser, Valkiria, Elektra.Uno puede estar de acuerdo o no con la selección. el autor la justifica en base aspectos pedagógicos más que en base a popularidad. Por lo demás, encontré varios problemas: (1) el libro es un poco antiguo y está claramente desactualizado en varios aspectos, (2) recomienda versiones específicas de las operas y algunas no son fáciles de encontrar, (3) a nivel metodológico espera que leas el libretto y el libro al mismo tiempo (a veces mientras escuchas la música) y esto pues es complicado.

The book is from 1994. The operas described are much older, so what can go wrong? I can't say, I haven't read that far. However, I stumbled about the practical stuff already. Buying tickets over the phone or by mail? Ok, 1994.As for the rest: the reception of opera has changed a lot so I am not sure where this book will take me.I like his enthusiasm, though!