Each week (approximately!) I listen to an opera in its entirety and post a review below. Actually, I listen to it twice during my daily commutes to and from work, often an English version first (to help me follow the plot), then an original language version that I carefully select from those available. I also read up on the work from various print sources that I have, and sometimes also watch a video performance. Basically, I immerse myself in the opera for a week. This is as much for my benefit as my readers’. It makes me very familiar with the work, which helps me appreciate it more on future listenings. I also often discover works that I love, or come to like others of which I previously had a negative impression.
Usually these are operas that I’m listening to in their entirety for the first time (I have over 700 to choose from!), after which I offer my initial thoughts and impressions. Operas, like other forms of music, can grow on the listener over time, so I usually keep an open mind even if I don’t care for an opera right away. While I indicate the particular recording(s) I listened to, the review is mostly focused on the work itself and not necessarily the selected performance. Occasionally I will also review the operas I am more familiar with, some of which are briefly encapsulated on the starter operas page. If I’m going to cover fifty operas a year this will take fourteen years, so I’d better get started . . .
My rating scale:
5 tenors – I loved it. I will listen to the whole work often, and seek other recordings of it.
4 tenors – I liked it. I will keep it in my rotation, and learn more about it.
3 tenors – Neutral. I might re-listen to certain parts, but probably not the whole work.
2 tenors – I didn’t like it. It mostly bored me, and had few redeeming qualities.
1 tenor – I don’t know what anyone sees in this, but to each his or her own.
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