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Revision as of 23:38, 22 January 2007
This list provides a guide to the most important operas, as determined by their presence on a majority of compiled lists of significant operas: see the "Lists Consulted" section for full details. The operas listed cover all important genres, and include all operas regularly performed today, from seventeenth-century works by Monteverdi, Cavalli and Purcell to late twentieth-century operas by Messiaen, Berio, Glass, Adams, Birtwistle and Judith Weir. The brief accompanying notes offer an explanation as to why each opera has been considered important. For an introduction to operatic history, see Opera. The organisation of the list is by year of first performance, or, if this was long after the composer's death, approximate date of composition.
1600 – 1699
- 1607 L'Orfeo (Claudio Monteverdi). This is widely regarded as the first operatic masterwork.
- 1640 Il ritorno d'Ulisse in patria (Claudio Monteverdi). Monteverdi's first opera for Venice, based on Homer's Odyssey, displays the composer's mastery of portrayal of genuine individuals as opposed to stereotypes.
- 1642 L'incoronazione di Poppea (Claudio Monteverdi). Monteverdi's last opera, composed for a Venetian audience, is often performed today. Its Venetian context helps to explain the complete absence of the moralizing tone often associated with opera of this time.
- 1644 Ormindo (Francesco Cavalli). One of the first of Cavalli's operas to be revived in the 20th century, Ormindo is considered one of his more attractive works.
- 1649 Giasone (Francesco Cavalli). In Giasone Cavalli, for the first time, separated aria and recitative.Giasone was the most popular opera of the 17th century.
- 1651 La Calisto (Francesco Cavalli). The ninth of the eleven operas that Cavalli wrote with Faustini is noted for its satire of the deities of classical mythology.
- 1689 Dido and Aeneas (Henry Purcell). Often considered to be the first genuine English-language operatic masterwork.
- 1692 The Fairy-Queen (Henry Purcell). A semi-opera rather than a genuine opera, this is often thought to be Purcell's finest dramatic work.
1700 – 1749
- 1710 Agrippina (George Frideric Handel). Handel's last opera that he composed in Italy was a great success, and established his reputation as a composer of Italian opera.
- 1711 Rinaldo (George Frideric Handel). Handel's first opera for the London stage was also the first all-Italian opera performed on the London stage.
- 1724 Giulio Cesare (George Frideric Handel). This Handel opera is noted for the richness of its orchestration.
- 1724 Tamerlano (George Frideric Handel). This work is described by Anthony Hicks, writing in Grove Music Online, as possessing a "taut dramatic power".
- 1725 Rodelinda (George Frideric Handel). Rodelinda is often praised for the fullness of the melodic writing among Handel's output.
- 1728 The Beggar's Opera (John Gay and Johann Christoph Pepusch). A satire of Italian opera seria, the ballad opera format of The Beggar's Opera has proved popular even up the current time.
- 1731 Acis and Galatea (George Frideric Handel). This is Handel's only work for the theatre that is set to an English libretto.
- 1733 Hippolyte et Aricie (Jean-Philippe Rameau). Rameau's first opera.
- 1733 La serva padrona (Giovanni Battista Pergolesi). La serva padrona became a model for many of the opera buffas that followed it, including those of Mozart.
- 1733 Orlando (George Frideric Handel). An opera that is described by Anthony Hicks as "remarkable" and by Orrey as one of Handel's "best works".
- 1735 Alcina (George Frideric Handel). Both this work and Ariodante were part of Handel's first opera season at Covent Garden.
- 1735 Ariodante (George Frideric Handel). Both this opera and Alcina enjoy high critical reputations today.
- 1735 Les Indes galantes (Jean-Philippe Rameau). In this work Rameau added emotional depth and power to the traditionally lighter form of opera-ballet.
- 1737 Castor et Pollux (Jean-Philippe Rameau). Initially a failure, when it was revived in 1764 Castor et Pollux was regarded as Rameau's finest achievement.
- 1738 Serse (George Frideric Handel). A deviation from the usual model of opera seria, Serse contains many comic elements rare in Handel's other works.
- 1744 Semele (George Frideric Handel). Originally performed as an oratorio, Semele's dramatic qualities have often lead to the work being performed on the opera stage in modern times.
- 1745 Platée (Jean-Philippe Rameau). Originally a court entertainment, a 1754 revival proved extremely popular with French audiences.
1750 – 1799
- 1760 La buona figliuola (Niccolò Piccinni). Piccinni's work was initially immensely popular throughout Europe. By 1790 over 70 productions of the opera had been produced and it had been performed in all the major European cities.
- 1762 Orfeo ed Euridice (Christoph Willibald Gluck) Gluck's most popular opera. The first work in which the composer tried to reform the excesses of Italian opera seria.
- 1767 Alceste (Christoph Willibald Gluck) Gluck's second "reform" opera, nowadays usually given in its French revision of 1776.
- 1768 Bastien und Bastienne (Wolfgang Amadeus Mozart). Mozart's one-act Singspiel was set to a parody of Rousseau's Le Devin du Village.
- 1770 Mitridate, re di Ponto (Wolfgang Amadeus Mozart). Composed when Mozart was 14, Mitridate was written for a demanding cast of star singers and is over 6 hours long in production.
- 1772 Lucio Silla (Wolfgang Amadeus Mozart). This opera from Mozart's teenage years was not revived until 1929 after its initial run of 25 performances.
- 1774 Iphigénie en Aulide (Christoph Willibald Gluck) Gluck's first opera for Paris.
- 1775 La finta giardiniera (Wolfgang Amadeus Mozart). This work is generally recognised as Mozart's first opera buffa of significance.
- 1775 Il re pastore (Wolfgang Amadeus Mozart). Mozart's last opera of his adolescence was set to a libretto by Pietro Metastasio.
- 1777 Armide (Christoph Willibald Gluck) Gluck used a libretto originally set by Lully for this French work, his favourite among his own operas.
- 1777 Il mondo della luna (Joseph Haydn). This opera was the last of three that Haydn set to libretti by Carlo Goldoni.
- 1779 Iphigénie en Tauride (Christoph Willibald Gluck) Gluck's "last and perhaps greatest masterpiece".
- 1781 Idomeneo (Wolfgang Amadeus Mozart). Usually thought of as Mozart's first mature opera, Idomeneo was composed after a lengthy break from the stage.
- 1782 Die Entführung aus dem Serail (Wolfgang Amadeus Mozart). Often thought of as the first of Mozart's comic masterpirces, this work is frequently performed today.
- 1782 Il barbiere di Siviglia (Giovanni Paisiello) Paisiello's most famous comic opera, later eclipsed by Rossini's work of the same name.
- 1786 Der Schauspieldirektor (Wolfgang Amadeus Mozart). Another Singspiel with much spoken dialogue taken from plays of that time, the plot of Der Schauspieldirektor features two sopranos vying to become prima donna in a newly-assembled company.
- 1786 Le Nozze di Figaro (Wolfgang Amadeus Mozart). The first of the famous series of Mozart operas set to libretti by Lorenzo Da Ponte is now Mozart's most popular opera.
- 1787 Don Giovanni (Wolfgang Amadeus Mozart). The second of the operas that Mozart set to Da Ponte's libretti, Don Giovanni has provided a puzzle for writers and philosophers ever since its composition.
- 1790 Così fan tutte (Wolfgang Amadeus Mozart). The third and last of the operas that Mozart set to libretti by Da Ponte, Così fan tutte was scarcely performed throughout the 19th century, as the plot was considered to be immoral.
- 1791 Die Zauberflöte (Wolfgang Amadeus Mozart). A work that has been described as "the apotheosis of the Singspiel", Die Zauberflöte was denigrated during the 19th century as confused and lacking in definition.
- 1791 La clemenza di Tito (Wolfgang Amadeus Mozart). Mozart's last opera before his early death was extremely popular until 1830, after which the work's popularity and critical reputation began to decline; they did not return to their former levels until after the Second World War.
- 1792 Il matrimonio segreto (Domenico Cimarosa). Usually regarded as Cimarosa's best opera, Leopold II enjoyed the three-hour-long premiere so much that, after dinner, he compelled the singers to repeat the opera later during that same day.
- 1797 Médée (Luigi Cherubini) The only French opera of the Revolutionary period to be regularly performed today. A famous showcase for sopranos such as Maria Callas.
1800 – 1832
- 1805 Fidelio (Ludwig van Beethoven) Beethoven's only opera was inspired by the composer's passion for political liberty.
- 1807 La vestale (Gaspare Spontini) Spontini's opera about a vestal virgin in love was a great influence on Bellini and Berlioz and a forerunner of French grand opera.
- 1812 La scala di seta (Gioacchino Rossini). An early Rossini work, this opera is outright farsa comica.
- 1813 L'italiana in Algeri (Gioacchino Rossini). This opera is described by Richard Osborne, writing in Grove Music Online, as "Rossini’s first buffo masterpiece in the fully fledged two-act form".
- 1813 Tancredi (Gioacchino Rossini). This melodramma eroico was described by poet Giuseppe Carpani thus: "It is cantilena and always cantilena: beautiful cantilena, new cantilena, magic cantilena, rare cantilena".
- 1814 Il turco in Italia (Gioacchino Rossini). This opera stands out among Rossini's output for its frequent ensembles and absence of aria.
- 1816 The Barber of Seville (Gioacchino Rossini). This work has become Rossini's most popular opera buffa.
- 1816 Otello (Gioacchino Rossini). The composer Giacomo Meyerbeer described the thrid act of Otello thus: "The third act of Otello established its reputation so firmly that a thousand errors could not shake it".
- 1817 La Cenerentola (Gioacchino Rossini). Rossini's comedy was composed in just over three weeks.
- 1817 La gazza ladra (Gioacchino Rossini). In this opera Rossini drew upon the French genre of rescue opera.
- 1818 Mosè in Egitto (Gioacchino Rossini). This work was originally conceived of as a sacred drama suitable for performance during Lent.
- 1819 La donna del lago (Gioacchino Rossini). Another Romantic-era opera inspired by the works of Sir Walter Scott.
- 1821 Der Freischütz (Carl Maria von Weber) Weber's masterpiece was the first great German Romantic opera.
- 1823 Euryanthe (Carl Maria von Weber) Despite its weak libretto, Euryanthe had a great influence on later German operas, including Wagner's Lohengrin.
- 1823 Semiramide (Gioacchino Rossini). This is the last opera that Rossini composed in Italy.
- 1825 La dame blanche (François-Adrien Boieldieu) Boieldieu's most successful opéra comique was one of many 19th century works inspired by the novels of Sir Walter Scott.
- 1826 Le siège de Corinthe (Gioacchino Rossini). For this work Rossini heavily revised his earlier Maometto II, placing the action in a different setting.
- 1826 Oberon (Carl Maria von Weber) Weber's last opera before his early death.
- 1827 Il pirata (Vincenzo Bellini). Bellini's second professional production established his international reputation.
- 1828 Der Vampyr (Heinrich Marschner) Marschner was a key link between Weber and Wagner, as this Gothic opera shows.
- 1828 Le comte Ory (Gioacchino Rossini). Rossini's opera has enjoyed a high critical reputation throughout the years: 19th-century critic Henry Chorley said that "there is not a bad melody, there is not an ugly bar in Le comte Ory", and Richard Osborne, writing in Grove Music Online, calls details that the work is one of the "wittiest, most stylish and most urbane of all comic operas".
- 1829 La straniera (Vincenzo Bellini). La straniera is rare among bel canto operas in that it offers remarkably few opportunities for vocal ostentation.
- 1829 William Tell (Gioacchino Rossini) Rossini's last opera before his retirement is a tale of liberty set in the Swiss Alps. It helped to establish the genre of French grand opera.
- 1830 Anna Bolena (Gaetano Donizetti). This was Donizetti's first success on the international scene and helped greatly to establish his reputation.
- 1830 Fra Diavolo (Daniel Auber) One of the most popular opéra comiques of the 19th century, Auber's tale of a Neapolitan bandit even inspired a film by Laurel and Hardy.
- 1830 I Capuleti e i Montecchi (Vincenzo Bellini) Bellini's version of Romeo and Juliet.
- 1831 La sonnambula (Vincenzo Bellini). The concertato "D'un pensiero e d'un accento" from the finale of Act 1 of this work was later parodied by Arthur Sullivan in Trial by Jury.
- 1831 Norma (Vincenzo Bellini). The final act of this work is often noted for the originality of its orchestration.
- 1831 Robert le diable (Giacomo Meyerbeer) Meyerbeer's first grand opera for Paris caused a sensation with its ballet of dead nuns.
- 1832 L'elisir d'amore (Gaetano Donizetti). This work was the most often performed opera in Italy between 1838 and 1848.
1833 – 1849
- 1833 Beatrice di Tenda (Vincenzo Bellini)
- 1833 Hans Heiling (Heinrich Marschner)
- 1833 Lucrezia Borgia (Gaetano Donizetti)
- 1834 Maria Stuarda (Gaetano Donizetti)
- 1835 Das Liebesverbot (Richard Wagner)
- 1835 I puritani (Vincenzo Bellini)
- 1835 La Juive (Fromental Halévy)
- 1835 Lucia di Lammermoor (Gaetano Donizetti)
- 1836 A Life for the Tsar (Mikhail Glinka)
- 1836 Les Huguenots (Giacomo Meyerbeer) Perhaps the most famous of all French grand operas, widely regarded as Meyerbeer's masterpiece.
- 1837 Roberto Devereux (Gaetano Donizetti)
- 1838 Benvenuto Cellini (Hector Berlioz)
- 1839 Oberto (Giuseppe Verdi)
- 1840 La favorite (Gaetano Donizetti)
- 1840 La fille du régiment (Gaetano Donizetti)
- 1840 Un giorno di regno (Giuseppe Verdi)
- 1842 Der Wildschütz (Albert Lortzing)
- 1842 Nabucco (Giuseppe Verdi). Verdi described this opera as the genuine beginning of his artistic career.
- 1842 Rienzi (Richard Wagner) Wagner's contribution to the grand opera tradition.
- 1842 Ruslan and Lyudmila (Mikhail Glinka)
- 1843 The Flying Dutchman (Richard Wagner)
- 1843 Don Pasquale (Gaetano Donizetti)
- 1843 I Lombardi alla prima crociata (Giuseppe Verdi)
- 1843 The Bohemian Girl (Michael Balfe)
- 1844 Ernani (Giuseppe Verdi)
- 1845 Tannhäuser (Richard Wagner)
- 1846 Attila (Giuseppe Verdi)
- 1846 The Damnation of Faust (Hector Berlioz)
- 1847 Macbeth (Giuseppe Verdi)
- 1847 Martha (Friedrich von Flotow)
- 1849 The Merry Wives of Windsor (Otto Nicolai)
- 1849 Le prophète (Giacomo Meyerbeer)
- 1849 Luisa Miller (Giuseppe Verdi)
1850 – 1875
- 1850 Genoveva (Robert Schumann) Schumann's only excursion into opera was a relative failure, though the work has had its admirers from Liszt to Nikolaus Harnoncourt.
- 1850 Lohengrin (Richard Wagner)The last of Wagner's "middle period" works.
- 1850 Stiffelio (Giuseppe Verdi)
- 1851 Rigoletto (Giuseppe Verdi)
- 1853 Il trovatore (Giuseppe Verdi)
- 1853 La traviata (Giuseppe Verdi)
- 1855 Les vêpres siciliennes (Giuseppe Verdi)
- 1858 Der Barbier von Bagdad (Peter Cornelius)
- 1858 Orphée aux enfers (Jacques Offenbach) The world's first operetta, this cynical and satirical piece is still immensely popular today.
- 1859 Faust (Charles Gounod)
- 1859 Un ballo in maschera (Giuseppe Verdi)
- 1862 Béatrice et Bénédict (Hector Berlioz)
- 1862 La forza del destino (Giuseppe Verdi)
- 1863 Les pêcheurs de perles (Georges Bizet)
- 1863 Les Troyens (Hector Berlioz)
- 1864 La belle Hélène (Jacques Offenbach)
- 1864 Mireille (Charles Gounod)
- 1865 L'Africaine (Giacomo Meyerbeer) Meyerbeer's last grand opera received a psosthumous premiere.
- 1865 Tristan und Isolde (Richard Wagner)
- 1866 Mignon (Ambroise Thomas) A lyrical work inspired by Goethe's novel Wilhelm Meister, this was Thomas's most successful opera along with Hamlet.
- 1866 The Bartered Bride (Bedřich Smetana)
- 1867 Don Carlos (Giuseppe Verdi)
- 1867 La jolie fille de Perth (Georges Bizet)
- 1867 Roméo et Juliette (Charles Gounod)
- 1868 Dalibor (Bedřich Smetana)
- 1868 Die Meistersinger von Nürnberg (Richard Wagner)
- 1868 Hamlet (Ambroise Thomas)
- 1868 La Périchole (Jacques Offenbach)
- 1868 Mefistofele (Arrigo Boito)
- 1869 Das Rheingold (Richard Wagner)
- 1870 Die Walküre (Richard Wagner)
- 1871 Aida (Giuseppe Verdi)
- 1874 Boris Godunov (Modest Mussorgsky)
- 1874 Die Fledermaus (Johann Strauss II)
- 1874 The Two Widows (Bedřich Smetana) Another comedy by Smetana, the only one of his operas with a non-Czech subject.
- 1875 Carmen (Georges Bizet)
1876 – 1899
- 1876 Siegfried (Richard Wagner)
- 1876 Götterdämmerung (Richard Wagner)
- 1876 La Gioconda (Amilcare Ponchielli)
- 1877 L'Étoile (Emmanuel Chabrier)
- 1877 Samson and Delilah (Camille Saint-Saëns)
- 1879 Eugene Onegin (Pyotr Ilyich Tchaikovsky)
- 1881 Hérodiade (Jules Massenet)
- 1881 Les contes d'Hoffmann (Jacques Offenbach)
- 1881 Simon Boccanegra (Giuseppe Verdi)
- 1882 Parsifal (Richard Wagner)
- 1882 The Snow Maiden (Nikolai Rimsky-Korsakov)
- 1883 Lakmé (Léo Delibes)
- 1884 Le Villi (Giacomo Puccini)
- 1884 Manon (Jules Massenet)
- 1885 The Gypsy Baron (Johann Strauss II)
- 1886 Khovanshchina (Modest Mussorgsky) Mussorgsky's second great epic of Russian history was left unfinished at his death.
- 1887 Le roi malgré lui (Emmanuel Chabrier)
- 1887 Otello (Giuseppe Verdi)
- 1888 Le roi d'Ys (Édouard Lalo) A Breton folk tale with music heavily influenced by Wagner.
- 1890 Cavalleria rusticana (Pietro Mascagni)
- 1890 Prince Igor (Alexander Borodin) Borodin spent 17 years working on this opera off and on, yet never managed to finish it. Most famous for its "Polovtsian dances".
- 1890 The Queen of Spades (Pyotr Ilyich Tchaikovsky)
- 1891 L'amico Fritz (Pietro Mascagni)
- 1892 Iolanta (Pyotr Ilyich Tchaikovsky)
- 1892 La Wally (Alfredo Catalani)
- 1892 Pagliacci (Ruggero Leoncavallo)
- 1892 Werther (Jules Massenet)
- 1893 Falstaff (Giuseppe Verdi)
- 1893 Hänsel und Gretel (Engelbert Humperdinck)
- 1893 Manon Lescaut (Giacomo Puccini)
- 1894 Thaïs (Jules Massenet)
- 1896 Andrea Chénier (Umberto Giordano)
- 1896 La bohème (Giacomo Puccini)
- 1897 Königskinder (Engelbert Humperdinck)
- 1898 Fedora (Umberto Giordano)
- 1898 Sadko (Nikolai Rimsky-Korsakov)
- 1899 Cendrillon (Jules Massenet)
- 1899 The Devil and Kate (Antonín Dvořák)
1900 – 1920
- 1900 Louise (Gustave Charpentier) An attempt to provide a French equivalent for Italian verismo, Louise is set in a working-class district of Paris.
- 1900 Tosca (Giacomo Puccini)
- 1901 Rusalka (Antonín Dvořák) Dvořák's most succesful opera with international audiences, based on a folk tale about a water sprite.
- 1902 Adriana Lecouvreur (Francesco Cilea)
- 1902 Pelléas et Mélisande (Claude Debussy)
- 1902 Saul og David (Carl Nielsen)
- 1904 Jenůfa (Leoš Janáček) Janáček's first great success, a naturalistic depiction of Czech peasant life.
- 1904 Madama Butterfly (Giacomo Puccini)
- 1905 The Merry Widow (Franz Lehár)
- 1905 Salome (Richard Strauss)
- 1906 Masquerade (Carl Nielsen)
- 1907 A Village Romeo and Juliet (Frederick Delius)
- 1907 Ariane et Barbe-bleue (Paul Dukas) Dukas's only opera, based like Debussy's Pelléas, on a Symbolist drama by Maeterlinck.
- 1907 The Legend of the Invisible City of Kitezh and the Maiden Fevroniya (Nikolai Rimsky-Korsakov)
- 1909 Elektra (Richard Strauss)
- 1909 Il segreto di Susanna (Ermanno Wolf-Ferrari)
- 1909 The Golden Cockerel (Nikolai Rimsky-Korsakov)
- 1910 Don Quichotte (Jules Massenet)
- 1910 La fanciulla del West (Giacomo Puccini)
- 1911 Der Rosenkavalier (Richard Strauss)
- 1911 L'heure espagnole (Maurice Ravel)
- 1912 Ariadne auf Naxos (Richard Strauss)
- 1912 Der ferne Klang (Schreker)
- 1913 La vida breve (Manuel de Falla)
- 1914 The Immortal Hour (Rutland Boughton)
- 1914 The Nightingale (Igor Stravinsky)
- 1916 Savitri (Gustav Holst)
- 1917 Arlecchino (Ferruccio Busoni)
- 1917 Eine florentinische Tragödie (Alexander von Zemlinsky)
- 1917 La rondine (Giacomo Puccini)
- 1917 Palestrina (Hans Pfitzner)
- 1918 Bluebeard's Castle (Béla Bartók)
- 1918 Gianni Schicchi (Giacomo Puccini)
- 1918 Il tabarro (Giacomo Puccini)
- 1918 Suor Angelica (Giacomo Puccini)
- 1919 Die Frau ohne Schatten (Richard Strauss)
- 1920 Die tote Stadt (Erich Wolfgang Korngold)
- 1920 The Excursions of Mr. Broucek on the Moon and in the 15th Century (Leoš Janáček) A comic fantasy set on the moon and in 15th century Bohemia.
1921 – 1944
- 1921 Káťa Kabanová (Leoš Janáček) The first of the great operas Janáček's late maturity, based on an Ostrovsky play about religious fanaticism and forbidden love in provincial Russia.
- 1921 The Love for Three Oranges (Sergei Prokofiev) A comic opera based on a fairy tale by Carlo Gozzi.
- 1922 Der Zwerg (Alexander von Zemlinsky) Another short Zemlinsky opera inspired by a work by Oscar Wilde. The composer personally identified with the dwarf of the title.
- 1924 Erwartung (Arnold Schoenberg) An intense atonal monodrama.
- 1924 Hugh the Drover (Ralph Vaughan Williams)
- 1924 Intermezzo (Richard Strauss)
- 1924 The Cunning Little Vixen (Leoš Janáček) One of the composer's most popular works, the story is based on a cartoon strip about animals in the Czech countryside.
- 1925 Doktor Faust (Ferruccio Busoni) Busoni intended this opera to be the climax of his career, but it was left unfinished at his death.
- 1925 L'enfant et les sortilèges (Maurice Ravel)
- 1925 Wozzeck (Alban Berg)
- 1926 Cardillac (Paul Hindemith) An opera in Hindemith's neo-classical style about a psychopathic jeweller.
- 1926 Háry János (Zoltán Kodály)
- 1926 King Roger (Karol Szymanowski) One of the most important Polish operas, this piece is full of Oriental harmonies.
- 1926 The Makropulos Affair (Leoš Janáček)
- 1926 Turandot (Giacomo Puccini)
- 1927 Oedipus Rex (Igor Stravinsky) Set to a Latin libretto by Jean Cocteau, this highly stylised piece fuses opera and oratorio.
- 1927 Jonny spielt auf (Ernst Krenek) A "jazz opera" which enjoyed tremendous success in its day.
- 1928 The Threepenny Opera (Kurt Weill)
- 1929 The Nose (Dmitri Shostakovich) Gogol's strange short story provided the plot for this grotesque satire.
- 1930 Rise and Fall of the City of Mahagonny (Kurt Weill)
- 1930 From the House of the Dead (Leoš Janáček)
- 1932 Moses und Aron (Arnold Schoenberg)
- 1933 Arabella (Richard Strauss)
- 1934 Lady Macbeth of the Mtsensk District (Dmitri Shostakovich)
- 1934 Destiny (Leoš Janáček) Composed in the first decade of the 20th century, this is an important transitional work in Janáček's career as the composer began to look beyond the traditional themes of Czech opera.
- 1935 Die schweigsame Frau (Richard Strauss) A comic opera based on a play by Ben Jonson.
- 1935 Porgy and Bess (George Gershwin)
- 1937 Lulu (Alban Berg)
- 1937 Riders to the Sea (Ralph Vaughan Williams) Often rated as Vaughan Williams's finest opera, this short, fatalistic tragedy is set on the Aran Isles in the west of Ireland.
- 1938 Daphne (Richard Strauss) A mythological opera with lyrical, pastoral music.
- 1938 Julietta (Bohuslav Martinů) This dreamlike work set in a town where people have lost their memory is "Martinu's operatic masterpiece".
- 1938 Mathis der Maler (Paul Hindemith) Hindemith's most highly regarded opera is a parable about an artist surviving in a time of crisis, reflecting the composer's own experience under the Nazis.
- 1941 Paul Bunyan (Benjamin Britten) Britten's first venture into opera was a light piece about an American folk hero with a libretto by W.H.Auden.
- 1942 Capriccio (Richard Strauss) Strauss's final opera is a conversation piece about the genre itself.
- 1943 Der Kaiser von Atlantis (Viktor Ullmann) Written in the Nazi concentration camp Theresienstadt and not performed until 1975. The composer and his librettist died in Auschwitz.
From 1945
- 1945 Peter Grimes (Benjamin Britten)
- 1945 War and Peace (Sergei Prokofiev)
- 1946 Betrothal in a Monastery (Sergei Prokofiev)
- 1946 The Medium (Gian Carlo Menotti)
- 1946 The Rape of Lucretia (Benjamin Britten)
- 1947 Albert Herring (Benjamin Britten)
- 1947 Dantons Tod (Gottfried von Einem)
- 1947 Les mamelles de Tirésias (Francis Poulenc) Poulenc's first opera is a short Surrealist comedy based on the play by Guillaume Apollinaire.
- 1947 The Telephone, or L'Amour à trois (Gian Carlo Menotti)
- 1949 Il prigioniero (Luigi Dallapiccola)
- 1950 The Consul (Gian Carlo Menotti)
- 1951 Amahl and the Night Visitors (Gian Carlo Menotti) This Christmas story was the first opera specifically written for television.
- 1951 Billy Budd (Benjamin Britten)
- 1951 The Pilgrim's Progress (Ralph Vaughan Williams)
- 1951 The Rake's Progress (Igor Stravinsky) Stravinsky's most important operatic work looks back to Mozart musically and has a libretto by W.H. Auden inspired by the engravings of William Hogarth.
- 1952 Boulevard Solitude (Hans Werner Henze) Henze's first full-length opera is an updating of the story of Manon Lescaut, also the source for important operas by Massenet and Puccini.
- 1953 Gloriana (Benjamin Britten) Composed for the coronation of Queen Elizabeth II, this opera looks back to the relationship between her namesake Elizabeth I and the Earl of Essex.
- 1954 The Fiery Angel (Sergei Prokofiev)
- 1954 The Turn of the Screw (Benjamin Britten) A chamber opera based on the ghost story by Henry James.
- 1954 Troilus and Cressida (William Walton) Walton's opera about the Trojan War was initially a failure.
- 1955 The Midsummer Marriage (Michael Tippett)
- 1956 Candide (Leonard Bernstein)
- 1957 Dialogues of the Carmelites (Francis Poulenc) Poulenc's major opera is set in a convent during the French Revolution.
- 1958 Vanessa (Samuel Barber)
- 1959 La Voix humaine (Francis Poulenc) A short opera with a single character: a despairing woman on the telephone to her lover.
- 1960 A Midsummer Night's Dream (Benjamin Britten). Set to a libretto adapted from the Shakespeare play by himself and his partner Peter Pears, Britten's work is rare in operatic history in that it features a countertenor in the male lead role.
- 1961 Elegy for Young Lovers (Hans Werner Henze)
- 1962 King Priam (Michael Tippett)
- 1964 Curlew River (Benjamin Britten)
- 1965 Der junge Lord (Hans Werner Henze)
- 1965 Die Soldaten (Bernd Alois Zimmermann)
- 1966 Antony and Cleopatra (Samuel Barber)
- 1966 The Bassarids (Hans Werner Henze)
- 1967 The Bear (William Walton)
- 1968 Punch and Judy (Harrison Birtwistle)
- 1968 The Prodigal Son (Benjamin Britten)
- 1969 The Devils of Loudun (Krzysztof Penderecki)
- 1970 The Knot Garden (Michael Tippett)
- 1971 Owen Wingrave (Benjamin Britten)
- 1972 Taverner (Peter Maxwell Davies) Davies was one of the most significant figures to emerge in British music the 1960s. This opera is based on a legend about the 16th century composer John Taverner.
- 1973 Death in Venice (Benjamin Britten)
- 1978 Le Grand Macabre (György Ligeti)
- 1978 Lear (Aribert Reimann) An Expressionist opera based on Shakespeare's tragedy. The title role was specifically written for the famous baritone Dietrich Fischer-Dieskau.
- 1980 The Lighthouse (Peter Maxwell Davies)
- 1983 Saint-François d'Assise (Olivier Messiaen)
- 1984 Un re in ascolto (Luciano Berio)
- 1984 Akhnaten (Philip Glass)
- 1986 The Mask of Orpheus (Harrison Birtwistle)
- 1987 A Night at the Chinese Opera (Judith Weir)
- 1987 Nixon in China (John Adams)
- 1991 Gawain (Harrison Birtwistle)
See also
- List of major opera composers
- The opera corpus – A list of more than 1,250 operas by more than 400 individual opera composers, arranged by composer, giving a general idea of the present depth and consistency of coverage of opera on Misplaced Pages.
- List of operas – A list of operas with entries in Misplaced Pages sorted alphabetically by title.
Notes
- Grove
- Grove
- Grove
- Grove
- Grove
- Viking p.191
- Grove
- Grove
- Grove
- Viking Opera Guide, p.418: According to John Mainwaring, Handel's first biographer, 'The theatre at almost every pause resounded with shouts of "Viva il caro Sassone". They were thunderstruck by the sublimity of his style: for never had they known till then all the powers of harmony and modulation so closely arrayed and forcibly combined'".
- Grove
- Grove
- Grove
- Grove
- Grove
- Grove
- Orrey p.64
- Grove
- Orrey pp.90-91
- Grove
- Orrey p.64
- Grove
- Grove
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- Viking pp.375-6
- Viking pp.378-9
- Grove
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- Viking p.381
- Grove
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- Viking p.393
- Grove
- Viking p.370
- Orrey p.110
- Orrey p. 113
- Viking p.752
- Grove
- Grove
- Grove
- Orrey p.107
- .Orrey p.113
- Grove
- Orrey p.114
- Grove
- Viking pp.210-211
- Viking p.
- Viking p.
- Grove
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- Viking p.
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- Viking p.
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- Orrey p.132
- Viking p.
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- Viking pp. 660-1
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- Viking p.1177
- Viking p.968
- Viking p.1184-86
- Viking p.735
- Viking p.
- Viking
- Viking p.
- Viking
- Oxford Illustrated p.
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- Viking p.203
- Oxford Illustrated p.269
- Oxford Illustrated p.304
- Oxford Illustrated p.285
- Oxford Illustrated p.269
- Viking p.505
- Oxford Illustrated p.
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- Grove
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- Viking p.
References
Lists consulted
This list was compiled by consulting nine lists of great operas, created by recognized authorities in the field of opera, and selecting all of the operas which appeared on at least five of these (i.e. all operas on a majority of the lists). The lists used were:
- "A-Z of Opera by Keith Anderson, Naxos, 2000".
- "The Standard Repertoire of Grand Opera 1607-1969", a list included in Norman Davies's Europe: a History (OUP, 1996; paperback edition Pimlico, 1997) ISBN 0-7126-6633-8.
- Operas appearing in the chronology by Mary Ann Smart in The Oxford Illustrated History of Opera (OUP, 1994) ISBN 0-19-816282-0.
- Operas with entries in The New Kobbe's Opera Book, ed. Lord Harewood (Putnam, 9th ed., 1997) ISBN 0-370-10020-4
- "Table of Contents of The Rough Guide to Opera". by Matthew Boyden. (2002 edition) ISBN 1-85828-749-9.
- Operas with entries in The Metropolitan Opera Guide to Recorded Opera ed. Paul Gruber (Thames and Hudson, 1993) ISBN 0393034445 and/or Metropolitan Opera Stories of the Great Operas ed. John W Freeman (Norton, 1984) ISBN 0393018881
- List of operas and their composers in Who's Who in British Opera ed. Nicky Adam (Scolar Press, 1993) ISBN 0 859 67 894 6
- Entries for individual operas in Warrack, John, and Ewan West (1992). The Oxford Dictionary of Opera. Oxford: Oxford University Press. ISBN 0-19-869164-5.
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: CS1 maint: multiple names: authors list (link) - Entries for individual operas in Who's Who in Opera: a guide to opera characters by Joyce Bourne (Oxford University Press, 1998) ISBN 0192100238
Note:
- The 93 operas included in all nine lists cited are: Adriana Lecouvreur, Aida, Arabella, Ariadne auf Naxos, Un Ballo in Maschera, The Barber of Seville, The Bartered Bride, Billy Budd, Bluebeard's Castle, La bohème, Boris Godunov, Capriccio, Carmen, Cavalleria rusticana, La cenerentola, La clemenza di Tito, Les contes d'Hoffmann, Così fan tutte, The Cunning Little Vixen, Dido and Aeneas, Don Carlos, Don Giovanni, Don Pasquale, Elektra, L'elisir d'amore, L'enfant et les sortilèges, Die Entführung aus dem Serail, Eugene Onegin, Falstaff, Faust, Fidelio, The Flying Dutchman, La forza del destino, Der Freischütz, Giulio Cesare, The Golden Cockerel, Götterdämmerung, L'heure espagnole, Les Huguenots, Idomeneo, L'incoronazione di Poppea, L'Italiana in Algeri, Jenůfa, Káťa Kabanová, Lakmé, The Marriage of Figaro, Il matrimonio segreto, Lohengrin, Louise, Lucia di Lammermoor, Macbeth, Madama Butterfly, The Magic Flute, Manon, Médée, Die Meistersinger von Nürnberg, Mignon, Moses und Aron, Nabucco, Norma, Orfeo, Orfeo ed Euridice, Otello, Pagliacci, Parsifal, Les pêcheurs de perles, Pelléas et Mélisande, Peter Grimes, Prince Igor, I puritani, The Queen of Spades, The Rake's Progress, Das Rheingold, Rigoletto, Roméo et Juliette, Der Rosenkavalier, Salome, Samson and Delilah, Semiramide, Siegfried, Simon Boccanegra, La sonnambula, Tannhauser, Tosca, La traviata, Tristan und Isolde, Il trovatore, Les Troyens, Turandot, The Turn of the Screw, Die Walküre, Werther, Wozzeck
Other references
- Various entries on operas and composers from:Grove Music Online ed. L. Macy (Accessed 19 January 2007), grovemusic.com, subscription access.
- The Viking Opera Guide (1993) ISBN 0-670-81292-7 Contributions are by noted specialists in their fields.
- Warrack, John (1992). The Oxford Dictionary of Opera. ISBN 0-19-869164-5.
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