Thomson Smillie

Ancient Egypt and the war with Ethiopia is the setting for Verdi’s grandest opera. It is the story of the love between Rhadames, the Egyptian general and Aida, an Ethiopian slave, and the jealousy of Amneris, daughter of the King of Egypt. It was written in 1871 to a commission from the Khedive of Egypt to inaugurate the new opera house in Cairo.

The Barber of Seville is Rossini’s most popular opera. Its effervescent overture (written originally for another work!) presents a perfect platform for the amusing plot in which the barber, Figaro, stage-manages a romance between Count Almaviva and Rosina, and puts to flight the old suitor, Dr Bartolo.

Carmen is among the most popular operas for all the obvious reasons: great characters, a gripping story and fabulous music. But what sets it on a pinnacle is an amazing combination of three factors: a sizzling gipsy heroine (one of the most psychologically complex and compelling characters in all theatre), great atmosphere (Spain, hot sun, the bull-ring) and the prodigality of melodic invention – one great tune after another, at least a dozen of which are the staples of Madison Avenue and the animated cartoon.

Die Fledermaus is one of the few operatic works to which the phrase ‘never a dull moment’ can be truthfully applied. From the explosive opening of the famous overture – reminiscent of a volley of champagne corks – through the surging energy of the ‘Fledermaus Waltz’ and the many comic numbers, of which the accelerando trio is the finest, up to such huge concerted numbers as the ‘Duidu’ finale to Act II, this is an operetta which almost incarnates nostalgia.

Don Giovanni has long been regarded as Mozart’s supreme theatrical achievement. The subject seems unpromising – the last day in the life of the notorious womaniser Don Juan – but the skill of the librettist allied to the genius of Mozart at the very peak of his powers has created a work which is not only highly entertaining but reflects an incredible understanding of the human condition.

The Flying Dutchman is the perfect opera with which to approach the operatic mountain that is Richard Wagner. It is short, has a great story (the legend of the Dutch captain doomed to sail forever unless redeemed through love), and the striking score has many pre-echoes of Wagner’s later great music dramas.

La Traviata owes its enduring popularity to a superb story of young love and fatal sacrifice, set to music by Italy’s master melodist at the peak of his powers. Interest and poignancy are added by the fact that this is a true story – the baritone ‘heavy’ is Alexander Dumas who wrote The Count of Monte Cristo.

Based on the simple yet deeply moving legendary tale of Orpheus, who loses his beloved wife to death but is able to restore her through the power of his music, Orfeo ed Euridice is among the earliest operas to hold a secure place in the repertory. Gluck lavishes a wealth of beautiful melody on this tale, whose appeal to composers is obvious; yet the abiding strength lies in the power and majesty of his inspiration, whether in the solos, the choruses, or the ballet music – which is surely the finest written for any opera.