Featured, Opera trivia

The Top 10 Operas of All Time, According to Regular People

From classic 16th-century works to new, modern productions revealed around the world, opera continues to build on its 400+ year repertoire. But which must-see operas do the majority of people say is the best? To help you decide which shows to cross off your opera bucket list, we’ve compiled the top 10 operas of all time, according to regular people.

Ranker—the leading media platform for crowd-sourced rankings on just about everything— has a pretty impressive list that shares just that. With over 47,000 votes and counting, check out the results from Ranker’s Best Operas of All Time below:

1. The Magic Flute

It’s no surprise to see The Magic Flute at the top of the list. Among one of the most performed operas in the nation, Mozart’s masterpiece is a fairy tale of an opera, featuring a love story, themes of good and evil, and a wicked, mysterious Queen of the Night. The vocal ranges required for singers in this production are challenging, even reaching a rare high F note. See the renowned and demanding aria sung by the Queen of the Night character in the clip above!

2. Rigoletto

Based on a French play, Giuseppe Verdi’s Rigoletto is a tragic story packed with emotion and drama. Set in 16th century Italy, Rigoletto follows the Duke of Mantua, his court jester Rigoletto, and Rigolett’s unlucky daughter. Love, murder and betrayal, Verdi hits it all in this iconic opera.

3. Don Giovanni

Don Giovanni is a young and arrogant aristocrat who will stop at nothing to challenge unrequited lust, even if it means violence. Another work of Mozart, Don Giovanni presents a thrilling story of lust, murder and revenge—it’s no wonder the production is such a popular one. Don Giovanni is also an opera that is often re-imagined through different lenses because of its unique adaptability. Whether it’s set at a college campus or inside the world of film noir, this timeless opera is a classic.

4. Carmen

Carmen, by French composer Georges Bizet, is easily one of the most popular operas in the world, boasting iconic arias (like Habanera in the clip above) and melodies that continue to lend themselves to everything from cartoons to commercials. Sung in French but set in Spain, Carmen follows a provocative gypsy and her love triangle, and features a shocking finale.

5. Le nozze di Figaro

Mozart’s Le nozze di Figaro (sometimes called The Marriage of Figaro) is the first truly comedic operas to make the list. This opera tells the story of a wedding gone wrong, complete with merry mix-ups, deception and missed connections all the way to the altar. Le nozze di Figaro is also where you can hear one of the most famous pieces of opera music—the overture—that continues to also make its way into popular culture, even today.

6. La traviata

Think Pretty Woman, but not funny. A heart-breaking masterpiece, La traviata can be found on many opera bucket lists because of its iconic music, likable characters, and its irresistible themes of true love. Another opera by Verdi, La traviata’s story is so beautiful and tragic, that it’s been adapted into many different forms, including Pretty Woman and Moulin Rouge. Plus, it just might boast the the best drinking song ever, as you can see for yourself in the clip above. Cross it off your list this season! 

7. Tosca

Another perfect opera tragedy, Tosca is the first Puccini opera we’ve encountered so far on our list. Sacrifice, death, power and love are all explored in this dark masterpiece of an opera. Recently referred to as the “original #MeToo opera,” Tosca tells the story of two people secretly in love, who are willing to risk it all at a chance of freedom together.

8. La bohème

La bohème is another Puccini opera about the lives of talented musicians, artists, poets and philosophers living in Paris. A group of friends emerge and begin to find family within one another, living as bohemians together. Loosely adapted into the popular musical and movie Rent, La boheme is a favorite among many.

9. Turandot

Puccini’s gorgeous Turandot takes place in China, and follows a story about a beautiful princess, Turandot, and the challenging—and risky—task she presents her suitors. Full of surprises, Turandot is an unconventional love story with a twist. Turandot also claims one of opera’s most powerful and iconic arias, Nessun Dorma, seen in the clip above.

10. The Barber of Seville

The only Rossini opera to make it in the top 10, The Barber of Seville is a comedic opera, based on a famous play by Beaumarchais. In a sort of Rapunzel situation, a young woman named Rosina is confined to her uncle’s home after the death of her parents leaves her with a fortune. Her uncle and guardian Bartolo forbids her to see any man—but this is an opera after all, and opera love knows no bounds.

We just included the top 10, but Ranker’s list goes on into the hundreds. What would be on your list? Let us know which opera you think should be number one in the comments!

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Live Opera Concerts
Featured, Opera discussions

Live Opera Concerts versus Stage Production

When someone says that they like listening to opera, what exactly are they talking about? Do they listen to entire productions from beginning to end, as if they were watching a live performance? Or just a playlist of their favorite arias?

And if we’re “only” listening to the music, are we really experiencing opera in its entirety? After all, opera was first conceived as a genre of dramatic acting, using music as a means to heighten the emotional impact. Can you even call it “opera” outside the context of a stage production?

Indeed, admired by the general population only casually acquainted with opera, there is a roster of famous “opera singers” who only perform concerts and do not participate in stage productions. Sometimes this sub-genre is referred to as operatic pop or “popera” or classical crossover. The artists that perform these concerts are the likes of Josh Grobin, Sara Brightman, and of course, Andrea Bocelli.

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Featured, Opera trivia

Opera in Film – the Secret to a Great Scene

It’s no secret that music plays a huge role in how we experience what see on screen – but did you know that opera in particular has lent its powerful compositions to many meaningful moments in film? From an iconic arrival of US troops to “enjoying the little things” during a zombie apocalypse, check out the below list of opera music that helped shape memorable scenes in these famous films.

  1. “Up” – Featuring Bizet’s “Habanera” from Carmen

Right before this scene, we’ve witnessed the tender and tear-jerking sequence of Carl and Ellie’s married life through the years. We watch as they grow older, evolve through the twists and turns of everyday life, and ultimately how Ellie’s health takes a turn for the worse. Immediately following this 8-minute full-circle love story, we are introduced to Carl’s post-Ellie life with the help of Bizet’s “Habanera” from Carmen. His mundane and monotonous routine is contrasted with the spirited “Habanera,” offering some comedic relief from the previous montage and setting the tone of for the rest of the film, letting audiences know there are more laughs ahead.

  1. “Mission: Impossible – Rouge Nation” – Featuring Puccini’s “Nessun dorma” from Turandot

Recorded for the movie by Lise Lindstrom, Gregory Kunde, and Vienna State Opera, Puccini’s powerful “Nessun dorma” begins as Cruise attempts to take down several assassins during an opera performance. As the setup unfolds, we’re shown one of the assassins flipping through the musical score. You don’t have to know music theory to guess that the last note of the aria, circled in red, is when he’ll pull the trigger – and once you reach that final, climactic high note, you’ll know why. “Nessun dorma” is a victorious aria sung by the character Calaf in Turandot, who falls in love with Princess Turandot and is presented with a challenge in order to win her over. In the aria’s finale, Calaf wails “Vincerò” – or “I will win.” In this scene, it seems Cruise has done just that. Fun fact: This isn’t the first time opera is used in the film. Earlier in the movie, when we first meet the CIA data analyst Benji Dun, he’s playing the video game Halo to Mozart’s The Marriage of Figaro.

  1. “Zombieland” – Featuring Mozart’s Overture to The Marrige of Figaro

I wonder what Mozart would have thought about his classic composition being paired with a zombie movie starring Woody Harrelson. In this scene, the Overture to The Marriage of Figaro heightens the slow-mo destruction of a deserted souvenir shop. Watching these post-apocalyptic misfits shatter glass, topple shelves and destroy everything in sight against the backdrop of Mozart’s satisfying, cheery overture, you can’t help but smile – and maybe even wish you were joining in on the fun on screen.

  1. “Raging bull” – Featuring Mascagni’s Intermezzo from Cavalleria Rusticana

Intermezzo, which is Italian for “interlude,” is a light instrumental composition often performed between acts of a play. This one from Mascagni’s Cavalleria Rusticana is a beautiful piece of music that is actually used in both the beginning and the end of Martin Scorsese’s “Raging Bull,” based on the real-life story of troubled boxing champion Jake La Motta, starring Robert DeNiro. Interestingly, Scorsese pairs this soft, delicate Intermezzo with black and white slow-moving images of a boxer, moving across the ring with a surprising grace. This clever musical match softens the otherwise brutal sport of boxing, and helps establish empathy, which we’ll need as the tragic biopic unfolds. Without this scene, the film might have been experienced very differently.

  1. “The Shawshank Redemption” – Featuring Mozart’s “‘Duettino- Sull’aria” from The Marriage of Figaro

From “The King’s Speech” and “Willie Wonka and the Chocolate Factory” to “Runaway Bride” and even “Looney Toons,” this famous duet from The Marriage of Figaro has been used in many movies and television shows – but perhaps one of the most memorable uses of the aria is in “The Shawshank Redemption.” In this moving scene, soon-to-be escaped prisoner Andy hijacks the record player in the warden’s office and plays the aria over the prison’s loudspeaker. The prisoners stand in silence, experiencing this beautiful duet that so starkly contrasts their everyday lives inside. “It was like some beautiful bird flapped inside our drab little cage and made those walls dissolve away,” says Morgan Freeman’s character over the music in the film. “For the briefest of moments, every last man in Shawshank felt free.”

  1. ”Pretty Woman” – Featuring Verdi’s La traviata

Verdi’s heartbreaking La traviata tells the story about a courtesan that falls in love with one of her suitors. Sound familiar? It’s no wonder NPR refers to the opera as “The Original ‘Pretty Woman.’” Not only does the rich suitor Edward (Richard Gere) take his hired escort Vivian (Julia Roberts) to La traviata in the movie, but the film itself appears to be a loose adaptation of the opera, both touching on ideas of social class and taboos through an unorthodox love story. In this scene, we get to see La traviata through Vivan’s eyes, as she makes the connection between herself and the character. Ultimately, it’s happily ever after for Vivan and Edward (let’s not forget this is a romantic comedy after all) – but does it end the same way for the “original” courtesan? I won’t spoil it for you – see for yourself at Palm Beach Opera’s production of La traviata in January!

  1. “Quantam of Solace” – Featuring Puccini’s Tosca

In this scene, James Bond is listening in on a confidential conversation between some very powerful people, sneakily snapping photos and attempting to identify the individuals. The setting? A modern opera production of Tosca. (If you look carefully, you’ll notice that Bond isn’t the only “watchful eye” in this scene – there is a massive eye on the set, watching over the audience.) Tosca is the perfect backdrop to Bond’s mission of taking down the bad guys, especially as we approach the climax of the aria “Te Deum,” (also the end of Act II in the opera) where the character Tosca murders the torturous, power-hungry villain Scarpia, mirroring the violence we’re seeing play out for Bond.

  1. “Philadelphia” – Featuring Giordano’s “La mamma morta” from Andrea Chénier

One of the first mainstream movies to acknowledge the AIDS epidemic, “Philadelphia” tells the story of a young man struggling not only with advancing HIV, but with the ignorance surrounding it. In this poignant scene towards the end of the film, the main character Andrew (Tom Hanks) expresses his acceptance of death through analyzing the beloved opera aria “La mamma morta” in front of his close-minded attorney Joe Miller (Denzel Washington). Sung by opera legend Maria Callas, this powerhouse recording of “La mamma morta” drives Andrew to tears, preparing audiences for the end of this tragic film.

  1. “Atonement” – Featuring Puccini’s “O Soave Fanciulla” from La bohème

It’s no coincidence that director Joe Wright uses one of opera’s most famous love duets to help tell the romantic story of Robbie and Cecilia. In this scene, Robbie plays “O Soave Fanciulla” for inspiration as he attempts to write a letter to Cecilia, seeking amends for an earlier encounter. Against the beautiful music of La bohème, we flip from airy images of Cecilia to a struggling, love-struck Robbie, and the audience realizes the two are in love. In the opera, this aria also marks the moment that the main characters Rodolfo and Mimi realize they are in love – but those who are familiar with the production know that it doesn’t end well for the couple. Was Wright giving us a clue when he chose this aria for Robbie and Cecilia?

  1. “Apocalypse Now” – Featuring Wagner’s Ride of the Valkyries

Perhaps one of the most iconic uses of opera in a film is in “Apocalypse Now,” when intimidating US troops arrive to destroy a Vietnam village.  As the powerful and dominating music of Ride of the Valkyries plays on the helicopters’ loudspeakers, missiles are dropped from the sky, growing with intensity as Wagner’s looming music picks up. Francis Ford Coppola wanted to show the horror of war – highlight “the madness, the sensuousness, and the moral dilemma of the Vietnam War,” he said in a statement prior to the release of the film in 1979 – and this violent and disturbing scene, with the help of the bellowing Valkyries, helps communicate just that. Disclaimer: this clip contains graphic images that some viewers may find disturbing.

It’s no coincidence that film directors across various genres – and generations – choose opera to help tell their stories. Whether it’s historical fiction, comedy, action or drama, opera continues to enhance what we see on screen, having a direct impact on how we experience these film-defining moments.

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Modern operas, Opera history

Changing the Ending to Carmen

Re-imagining the most popular works and placing them in a new setting has produced some creative revivals of opera classics in recent years.

There are certain operas that lend themselves particularly well to this type of practice because their themes are so universal. Romeo et Juliet (star-crossed love), Rigoletto (revenge), and Don Giovanni (unrepentant lust), just to name a few.

But how far can we go with this?

It’s one thing to create a modern set and contemporary costumes—Rigoletto in Las Vegas or Don Giovanni in a film noir set. This adds flavor, and makes the pieces and their themes feel more relatable.

Photo by Cory Weaver for Lyric Opera of Kansas City

However, is it also acceptable to alter to the plot and the musical arrangement? Should the story, the score, and the essential emotions of the original artists be significantly altered? If so, then what do we call this edited work… is it a “version” of the original, or a whole new work of art?

Case in point, in 2017 the Florence (Italy) opera house produced a new “version” of Carmen, where the title character does not die, but rather murders her abuser. The new feminist movement in the wake of #MeToo replaces Old World female subjugation.

“As far as we know, it is the first time that the ending to Carmen has been changed,” the opera house’s Paolo Klun told The Telegraph.

“We think it’s important that the theatre should not be a conservative place of musical culture, it should not be a museum. It’s a place where debate can be initiated. Carmen was written 150 years ago in a very different cultural context. Times change.”

Times change, indeed. And in any case, it’s not uncommon for certain operas to have several different “versions” that have been created over the years to accommodate a given companies resources, time constraints, venue limitations, and other variables. But that’s not exactly the same thing as overhauling the entire storyline, including changes to the score…

Opera Australia’s ‘Carmen’ by C Branco Gaica

Leo Muscato, the opera’s director, said he was initially resistant to the idea of changing the ending. “The death of Carmen is the engine that drives the opera, why reverse the situation?”

“Then I understood that what Chiarot (superintendent, Opera di Firenze) was calling for was reasonable. The theme of death in the opera has a strong masculine element – the woman must sacrifice herself in order to save her freedom. It is a point of view that today makes no sense.”

Well, OK, but if that’s the case, perhaps we should review—and change—our entire body of historical works of literature, music, painting, sculpture, theater, etc. Perhaps our modern-day environmentalists would prefer that Captain Ahab merely photograph, instead of hunt, Moby Dick. (Not as compelling, is it?) Maybe even Florence’s own statue of David by Michelangelo should be covered up in the name of modesty. Where would we draw the line?

This is an interesting debate, and it’s not going away any time soon. There is a lot of pressure to be politically correct, even in the arts where there should be more freedom from this type of influence. But alas, here we are, one of the most beloved pieces in opera history fundamentally altered to conform to modern sensibilities. So now what? Perhaps Cio-Cio San will be the next beneficiary of this new trend; maybe she’ll even turn her sword on Pinkerton in an upcoming production of Madama Butterfly—many in the audience would love to see that, no doubt!

What are your thoughts on the debate? Please leave your comments below.

Here’s the original article in The Telegraph:


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