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ATTEMPTS, ATTEMPTS, ATTEMPTS. BOLLOCKS. It either provides a guide or it doesn't. No need for such weaselling.
Adding Moniuszko; sorting composers born in the same year by their death dates; adding name links; making minor stylistic changes and Americanizing spelling of non-British references
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This list provides a guide to the most important [[opera]] [[composers]], as determined by their presence on a majority of compiled lists of the most important opera composers. See [[#Lists Consulted|the "Lists Consulted" section]] for full details of this selection process. Organisation is by birthdate.
This list provides a guide to the most important [[opera]] [[composers]], as determined by their presence on a majority of compiled lists of the most important opera composers. See the [[#Lists Consulted|"Lists Consulted" section]] for full details of this selection process. Organization is by birthdate.


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==1500-1699==
==1550-1699==
[[Image:Jacopo Peri 1.jpg|thumb|Jacopo Peri, who composed the first ever opera, ''Dafne''.]]
[[Image:Jacopo Peri 1.jpg|thumb|Jacopo Peri, who composed the first ever opera, ''Dafne''.]]
*'''[[Jacopo Peri]]''' (1561-1633) A [[Florence|Florentine]] who composed the first surviving opera, ''[[Euridice (opera)|Euridice]]'' (1600).<ref>''Viking Opera Guide''p.768</ref>
*'''[[Jacopo Peri]]''' (1561-1633) A [[Florence|Florentine]] who composed the first surviving opera, ''[[Euridice (opera)|Euridice]]'' (1600).<ref>''Viking Opera Guide''p.768</ref>
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*'''[[Alessandro Scarlatti]]''' (1660-1725) A key figure in the development of [[opera seria]], Scarlatti claimed to have composed over 100 operas, of which ''[[La Griselda]]'' is a notable example.<ref>''Viking Opera Guide'' p.942</ref>
*'''[[Alessandro Scarlatti]]''' (1660-1725) A key figure in the development of [[opera seria]], Scarlatti claimed to have composed over 100 operas, of which ''[[La Griselda]]'' is a notable example.<ref>''Viking Opera Guide'' p.942</ref>
*'''[[Jean-Philippe Rameau]]''' (1683-1764) was the most important French opera composer of the 18th century. Following in the genre established by [[Lully]],<ref>Orrey p.40</ref> he endowed his works with a great richness of invention. Rameau's musical daring provoked great controversy in his day,<ref>Orrey p.40</ref> but he was an important influence on [[Christoph Willibald Gluck|Gluck]].
*'''[[Jean-Philippe Rameau]]''' (1683-1764) was the most important French opera composer of the 18th century. Following in the genre established by [[Lully]],<ref>Orrey p.40</ref> he endowed his works with a great richness of invention. Rameau's musical daring provoked great controversy in his day,<ref>Orrey p.40</ref> but he was an important influence on [[Christoph Willibald Gluck|Gluck]].
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*'''[[George Frideric Handel]]''' (1685-1759). Handel's baroque-era ''[[opera seria]]s'' set the standard in his day.<ref>Orrey p.59</ref> Despite the often stifling conventions of ''opera seria'', Handel composed a series of over 30 operas that continue to fascinate audiences today. His masterwork is generally thought to be ''[[Giulio Cesare]]''.
*'''[[John Gay]]''' (1685-1732) and '''[[Johann Christoph Pepusch]]''' (1667-1752). Creators of the first English [[ballad opera]], the biting political satire, ''[[The Beggar's Opera]]''.<ref>''Viking Opera Guide'' p.343</ref>
*'''[[John Gay]]''' (1685-1732) and '''[[Johann Christoph Pepusch]]''' (1667-1752). Creators of the first English [[ballad opera]], the biting political satire, ''[[The Beggar's Opera]]''.<ref>''Viking Opera Guide'' p.343</ref>
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*'''[[George Frideric Handel]]''' (1685-1759). Handel's Baroque-era ''[[opera seria]]s'' set the standard in his day.<ref>Orrey p.59</ref> Despite the often stifling conventions of ''opera seria'', Handel composed a series of over 30 operas that continue to fascinate audiences today. His masterwork is generally thought to be ''[[Giulio Cesare]]''.
{{Listen|filename=Stay, Prince and hear.ogg|title=Stay, Prince and hear|description=A scene from Purcell's operatic masterpiece, ''[[Dido and Aeneas]]''. The witches' messenger, in the form of Mercury himself, attempts to convince Aeneas to leave Carthage. Note the use of Italian-style recitative, a rarity in English opera at that time.<ref>Orrey p.59</ref>|format=[[Ogg]]}}
{{Listen|filename=Stay, Prince and hear.ogg|title=Stay, Prince and hear|description=A scene from Purcell's operatic masterpiece, ''[[Dido and Aeneas]]''. The witches' messenger, in the form of Mercury himself, attempts to convince Aeneas to leave Carthage. Note the use of Italian-style recitative, a rarity in English opera at that time.<ref>Orrey p.59</ref>|format=[[Ogg]]}}


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*'''[[Giovanni Battista Pergolesi]]''' (1710-1736) Though Pergolesi also composed [[opera seria]]s, his most influential work was the short [[opera buffa]], ''[[La serva padrona]]''.<ref>''Oxford Companion to Music'', p. 783</ref>
*'''[[Giovanni Battista Pergolesi]]''' (1710-1736) Though Pergolesi also composed [[opera seria]]s, his most influential work was the short [[opera buffa]], ''[[La serva padrona]]''.<ref>''Oxford Companion to Music'', p. 783</ref>
*'''[[Christoph Willibald Gluck]]''' (1714-1787) was a key figure in the transformation of Baroque into Classical opera, paving the way for [[Wolfgang Amadeus Mozart|Mozart]], though his influence stretched much further into the 19th century, with both [[Hector Berlioz|Berlioz]] and [[Richard Wagner|Wagner]] acknowledging their debt to him. In his ''reform operas'' from ''[[Orfeo ed Euridice]]'' onwards, he sought to throw off the formal conventions of ''[[opera seria]]'' and write music of "beautiful simplicity" (his own words<ref>Orrey p.85</ref>) which would concentrate on the drama rather than musical virtuosity for its own sake.
*'''[[Christoph Willibald Gluck]]''' (1714-1787) was a key figure in the transformation of Baroque into Classical opera, paving the way for [[Wolfgang Amadeus Mozart|Mozart]], though his influence stretched much further into the 19th century, with both [[Hector Berlioz|Berlioz]] and [[Richard Wagner|Wagner]] acknowledging their debt to him. In his ''reform operas'' from ''[[Orfeo ed Euridice]]'' onwards, he sought to throw off the formal conventions of ''[[opera seria]]'' and write music of "beautiful simplicity" (his own words<ref>Orrey p.85</ref>) which would concentrate on the drama rather than musical virtuosity for its own sake.
*'''[[Domenico Cimarosa]]''' (1749-1801) Italian composer most famous for the [[opera buffa]], ''[[Il matrimonio segreto]]'', which forms a bridge between the comedies of Mozart and Rossini.<ref>''Viking Opera Guide'' p.216-218</ref>
*'''[[Domenico Cimarosa]]''' (1749-1801) Italian composer most famous for the [[opera buffa]], ''[[Il matrimonio segreto]]'', which forms a bridge between the comedies of [[Mozart]] and [[Rossini]].<ref>''Viking Opera Guide'' p.216-218</ref>
*'''[[Wolfgang Amadeus Mozart]]''' (1756-1791). Drawing heavily on the reforms of Gluck, Mozart's series of comic collaborations (''[[Così fan tutte]]'', ''[[Don Giovanni]]'', and ''[[The Marriage of Figaro]]'') with [[Lorenzo da Ponte]] are among the most popular operas in the repertoire today,<ref>Orrey p.101</ref> along with his [[Singspiel]] ''[[The Magic Flute]]''.
*'''[[Wolfgang Amadeus Mozart]]''' (1756-1791). Drawing heavily on the reforms of Gluck, Mozart's series of comic collaborations (''[[Così fan tutte]]'', ''[[Don Giovanni]]'', and ''[[The Marriage of Figaro]]'') with [[Lorenzo da Ponte]] are among the most popular operas in the repertoire today,<ref>Orrey p.101</ref> along with his [[Singspiel]] ''[[The Magic Flute]]''.
*'''[[Luigi Cherubini]]''' (1760-1842) A follower of Gluck, Cherubini's most famous opera is ''[[Médée (Cherubini)|Médée]]''. The title role has proved a challenge to sopranos (including [[Maria Callas]]) since its premiere in 1797.<ref>''Viking Opera Guide'' p.210</ref>
*'''[[Luigi Cherubini]]''' (1760-1842) A follower of Gluck, Cherubini's most famous opera is ''[[Médée (Cherubini)|Médée]]''. The title role has proved a challenge to sopranos (including [[Maria Callas]]) since its premiere in 1797.<ref>''Viking Opera Guide'' p.210</ref>
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*'''[[Gaspare Spontini]]''' (1774-1851) Though Italian, Spontini is best known for his work in France during the [[Napoleon|Napoleonic era]]. His masterpiece ''[[La vestale]]'' influenced [[Vincenzo Bellini|Bellini]] and [[Berlioz]].<ref>''Viking Opera Guide'' p.1002</ref>
*'''[[Gaspare Spontini]]''' (1774-1851) Though Italian, Spontini is best known for his work in France during the [[Napoleon|Napoleonic era]]. His masterpiece ''[[La vestale]]'' influenced [[Vincenzo Bellini|Bellini]] and [[Berlioz]].<ref>''Viking Opera Guide'' p.1002</ref>
*'''[[Daniel-François-Esprit Auber]]''' (1782-1871) French composer celebrated for high-spirited ''[[opéra comique]]s'' such as ''[[Fra Diavolo]]'' and ''Le domino noir''. His grand opera ''[[La muette de Portici]]'' attained unexpected political influence when a performance in [[Brussels]] in 1830 sparked off a revolution which led to the creation of [[Belgium]].<ref>''Viking Opera Guide'' pp.37-38</ref>
*'''[[Daniel-François-Esprit Auber]]''' (1782-1871) French composer celebrated for high-spirited ''[[opéra comique]]s'' such as ''[[Fra Diavolo]]'' and ''Le domino noir''. His grand opera ''[[La muette de Portici]]'' attained unexpected political influence when a performance in [[Brussels]] in 1830 sparked off a revolution which led to the creation of [[Belgium]].<ref>''Viking Opera Guide'' pp.37-38</ref>
*'''[[Carl Maria von Weber]]''' (1786-1826) founded [[German romanticism|German Romantic]] opera<ref>Orrey p. 140</ref> in order to challenge the dominance of Italian [[bel canto]]. A master of orchestral colour and atmosphere, Weber was never well served by his librettists, and only one of his works, ''[[Der Freischütz]]'', is performed with any frequency. Though he died young, his influence on later German composers, especially [[Richard Wagner|Wagner]], was immense.
*'''[[Carl Maria von Weber]]''' (1786-1826) founded [[German romanticism|German Romantic]] opera<ref>Orrey p. 140</ref> in order to challenge the dominance of Italian [[bel canto]]. A master of orchestral color and atmosphere, Weber was never well served by his librettists, and only one of his works, ''[[Der Freischütz]]'', is performed with any frequency. Though he died young, his influence on later German composers, especially [[Richard Wagner|Wagner]], was immense.
*'''[[Giacomo Meyerbeer]]''' (1791-1864) The archetypal composer of French [[grand opera]], Meyerbeer's huge extravaganzas such as ''[[Les Huguenots]]'' and ''[[Le prophète]]'' were immensely popular in their day. <ref>''Oxford Illustrated History of Opera'' p.146-150</ref>
*'''[[Giacomo Meyerbeer]]''' (1791-1864) The archetypal composer of French [[grand opera]], Meyerbeer's huge extravaganzas such as ''[[Les Huguenots]]'' and ''[[Le prophète]]'' were immensely popular in their day. <ref>''Oxford Illustrated History of Opera'' p.146-150</ref>
*'''[[Gioacchino Rossini]]''' (1792-1868) links [[bel canto]] with [[Grand Opera]]. His immortal ''[[Barber of Seville]]'' was the only one of his operas that was continuously performed into the twentieth century,<ref>Britannica p.631 C.2</ref> but his serious operas, such as ''[[Semiramide]]'' and ''[[Ermione]]'', are recognised as masterpieces now that singers with appropriate technique are again available to perform them. ''[[William Tell (opera)|Guillaume Tell]]'', his swan-song, has a vast sweep<ref>Britannica p.631 C.2</ref> only equalled in the nineteenth century by the later works of [[Giuseppe Verdi|Verdi]], [[Modest Mussorgsky|Mussorgsky]] and [[Richard Wagner|Wagner]].
*'''[[Gioacchino Rossini]]''' (1792-1868) links [[bel canto]] with [[Grand Opera]]. His immortal ''[[Barber of Seville]]'' was the only one of his operas that was continuously performed into the twentieth century,<ref>Britannica p.631 C.2</ref> but his serious operas, such as ''[[Semiramide]]'' and ''[[Ermione]]'', are recognized as masterpieces now that singers with appropriate technique are again available to perform them. ''[[William Tell (opera)|Guillaume Tell]]'', his swan-song, has a vast sweep<ref>Britannica p.631 C.2</ref> only equalled in the nineteenth century by the later works of [[Giuseppe Verdi|Verdi]], [[Modest Mussorgsky|Mussorgsky]] and [[Richard Wagner|Wagner]].
*'''[[Gaetano Donizetti]]''' (1797-1848). Along with Rossini and Bellini, Donizetti is generally acknowledged as one of the masters of the ''bel canto'' style. His masterwork is generally cited as being ''[[Lucia di Lammermoor]]''.<ref>Orrey p.134</ref>
*'''[[Gaetano Donizetti]]''' (1797-1848). Along with [[Rossini]] and [[Bellini]], Donizetti is generally acknowledged as one of the masters of the ''bel canto'' style. His masterwork is generally cited as being ''[[Lucia di Lammermoor]]''.<ref>Orrey p.134</ref>
*'''[[Jacques Fromental Halévy]]''' (1799-1862) Along with Meyerbeer, the best known composer of French [[grand opera]]. Halévy's key work is ''[[La Juive]]'', a story of religious intolerance set in 15th century Germany.<ref>''Viking Opera Guide'' p.412</ref>
*'''[[Jacques Fromental Halévy]]''' (1799-1862) Along with [[Meyerbeer]], the best known composer of French [[grand opera]]. Halévy's key work is ''[[La Juive]]'', a story of religious intolerance set in 15th century Germany.<ref>''Viking Opera Guide'' p.412</ref>
{{multi-listen start}}
{{multi-listen start}}
{{multi-listen item|filename=Wolfgang Amadeus Mozart - Don Giovanni - Overtüre.ogg|title=K527|description=The overture to Mozart's ''[[Don Giovanni]]''.|format=[[Ogg]]}}
{{multi-listen item|filename=Wolfgang Amadeus Mozart - Don Giovanni - Overtüre.ogg|title=K527|description=The overture to Mozart's ''[[Don Giovanni]]''.|format=[[Ogg]]}}
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==1800-1849==
==1800-1849==
[[Image:Verdi.jpg|thumbnail|200px|right|Giuseppe Verdi, by [[Giovanni Boldini]], 1886 (National Gallery of Modern Art, Rome).]]
[[Image:Verdi.jpg|thumbnail|200px|right|Giuseppe Verdi, by [[Giovanni Boldini]], 1886 (National Gallery of Modern Art, Rome).]]
*'''[[Vincenzo Bellini]]''' (1801-1835). On account of such works as ''[[Norma]]'' and ''[[I puritani]]'', Bellini is now recognised as one of the leading composers of the ''bel canto'' style of opera.<ref>Orrey p.129-133</ref>
*'''[[Vincenzo Bellini]]''' (1801-1835). On account of such works as ''[[Norma]]'' and ''[[I puritani]]'', Bellini is now recognized as one of the leading composers of the ''bel canto'' style of opera.<ref>Orrey p.129-133</ref>
*'''[[Hector Berlioz]]''' (1803-1869) Berlioz's attempts to carve out an operatic career for himself were thwarted by an unimaginative musical establishment.<ref>Orrey p.153</ref> Nevertheless, he managed to produce ''[[Benvenuto Cellini (opera)|Benvenuto Cellini]]'', ''[[Béatrice et Bénédict]]'' and his masterpiece, the epic ''[[Les Troyens]]'',<ref>Orrey p.154</ref> the only French opera of its era of sufficient magnitude to challenge the music dramas of [[Richard Wagner|Wagner]]. Berlioz's ''dramatic legend'', ''[[La damnation de Faust]]'', has also been staged as an opera in recent years.
*'''[[Hector Berlioz]]''' (1803-1869) Berlioz's attempts to carve out an operatic career for himself were thwarted by an unimaginative musical establishment.<ref>Orrey p.153</ref> Nevertheless, he managed to produce ''[[Benvenuto Cellini (opera)|Benvenuto Cellini]]'', ''[[Béatrice et Bénédict]]'' and his masterpiece, the epic ''[[Les Troyens]]'',<ref>Orrey p.154</ref> the only French opera of its era of sufficient magnitude to challenge the music dramas of [[Richard Wagner|Wagner]]. Berlioz's ''dramatic legend'', ''[[La damnation de Faust]]'', has also been staged as an opera in recent years.
*'''[[Mikhail Glinka]]''' (1804-1857) founded the Russian operatic tradition with his historical drama ''[[A Life for the Tsar]]'' and his fairy tale piece ''[[Ruslan and Lyudmila]]''.<ref>Orrey p.180</ref>
*'''[[Mikhail Glinka]]''' (1804-1857) founded the Russian operatic tradition with his historical drama ''[[A Life for the Tsar]]'' and his fairy tale piece ''[[Ruslan and Lyudmila]]''.<ref>Orrey p.180</ref>
*'''[[Ambroise Thomas]]''' (1811-1896) French composer noted for the operas ''[[Mignon]]'' and ''[[Hamlet (opera)|Hamlet]]''. <ref>''Viking Opera Guide'' p.1098. </ref>
*'''[[Ambroise Thomas]]''' (1811-1896) French composer noted for the operas ''[[Mignon]]'' and ''[[Hamlet (opera)|Hamlet]]''. <ref>''Viking Opera Guide'' p.1098. </ref>
*'''[[Richard Wagner]]''' (1813-1883). Wagner revolutionised opera. In a series of "music dramas" such as ''[[Tristan und Isolde]]'', ''[[Parsifal]]'', and most of all his epic tetrology ''[[Der Ring des Nibelungen]]'', Wagner abolished the traditional distinction between [[recitative]] and [[aria]] and pioneered a new through-composed style of opera that avoids traditional cadences. Famous for their gigantic scale, Wagner's works also initiated a move away from traditional [[tonality]].<ref>Orrey p. 168-169</ref>
*'''[[Richard Wagner]]''' (1813-1883). Wagner revolutionized opera. In a series of "music dramas" such as ''[[Tristan und Isolde]]'', ''[[Parsifal]]'', and most of all his epic tetrology ''[[Der Ring des Nibelungen]]'', Wagner abolished the traditional distinction between [[recitative]] and [[aria]] and pioneered a new through-composed style of opera that avoids traditional cadences. Famous for their gigantic scale, Wagner's works also initiated a move away from traditional [[tonality]].<ref>Orrey p. 168-169</ref>
*'''[[Giuseppe Verdi]]''' (1813-1901) had a long composing career, during which his compositional style kept evolving. Among his most famous works are ''[[Rigoletto]]'', ''[[Il Trovatore]]'', ''[[La traviata]]'', ''[[Don Carlos]]'', ''[[Aida]]'', and ''[[Otello]]''. Mocked by critics during his lifetime and even today as melodramatic, Verdi's operas today dominate the world's stages.<ref>Orrey p.137-147</ref>
*'''[[Giuseppe Verdi]]''' (1813-1901) had a long composing career, during which his compositional style kept evolving. Among his most famous works are ''[[Rigoletto]]'', ''[[Il Trovatore]]'', ''[[La traviata]]'', ''[[Don Carlos]]'', ''[[Aida]]'', and ''[[Otello]]''. Mocked by critics during his lifetime and even today as melodramatic, Verdi's operas today dominate the world's stages.<ref>Orrey p.137-147</ref>
*'''[[Charles Gounod]]''' (1818-1893) wrote lyrical operas on literary themes, including ''[[Roméo et Juliette]]'' and ''[[Mireille]]''. His ''[[Faust (opera)|Faust]]'' was one of the most popular operas ever written and still holds the stage today,<ref>Orrey p.154</ref> in spite of criticisms of its "Victorianism".
*'''[[Charles Gounod]]''' (1818-1893) wrote lyrical operas on literary themes, including ''[[Roméo et Juliette]]'' and ''[[Mireille]]''. His ''[[Faust (opera)|Faust]]'' was one of the most popular operas ever written and still holds the stage today,<ref>Orrey p.154</ref> in spite of criticisms of its "Victorianism".
*'''[[Stanisław Moniuszko]]''' (1819-1872) is Poland's national composer, renowned as the "father of [[Music of Poland|Polish opera]]". His most-frequently performed opera, ''[[Halka]]'' has been a staple of Eastern European repertoire since its premiere in 1854. He also composed ballets, orchestral works and numerous songs.
*'''[[Jacques Offenbach]]''' (1819-1880) was the founder of French [[operetta]] and a prolific composer of pieces which achieved tremendous success with Parisian audiences for their catchy melodies and satirical bite such as ''[[La vie Parisienne]]'' and ''[[Orpheus in the Underworld]]''.<ref>Britannica p.633 C.1</ref> At the time of his death, Offenbach was working on a more serious opera, ''[[The Tales of Hoffmann]]''.
*'''[[Jacques Offenbach]]''' (1819-1880) was the founder of French [[operetta]] and a prolific composer of pieces which achieved tremendous success with Parisian audiences for their catchy melodies and satirical bite such as ''[[La vie Parisienne]]'' and ''[[Orpheus in the Underworld]]''.<ref>Britannica p.633 C.1</ref> At the time of his death, Offenbach was working on a more serious opera, ''[[The Tales of Hoffmann]]''.
*'''[[Bedřich Smetana]]''' (1824-1884) established Czech national opera with such historical epics as ''[[Dalibor]]'',<ref>Orrey p.177</ref>. His folk comedy ''[[The Bartered Bride]]'' has entered the international repertory.
*'''[[Bedřich Smetana]]''' (1824-1884) established Czech national opera with such historical epics as ''[[Dalibor]]'',<ref>Orrey p.177</ref>. His folk comedy ''[[The Bartered Bride]]'' has entered the international repertory.
*'''[[Aleksandr Borodin]]''' (1833-1887) A "weekend composer" who spent 17 years working on a single opera, ''[[Prince Igor]]'', which now forms a key part of the Russian repertory.<ref>''Viking Opera Guide'' p.134</ref>
*'''[[Aleksandr Borodin]]''' (1833-1887) A "weekend composer" who spent 17 years working on a single opera, ''[[Prince Igor]]'', which now forms a key part of the Russian repertory.<ref>''Viking Opera Guide'' p.134</ref>
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*'''[[Georges Bizet]]''' (1835-1875) Bizet's masterwork ''[[Carmen]]'' is a staple of the repertoire of opera houses the world over. At the time of its premiere, the controversial plot scandalized both critics and the public.<ref>Orrey p. 156-157</ref>
*'''[[Camille Saint-Saëns]]''' (1835-1921) French composer of around a dozen operas of which one, the Biblical ''[[Samson and Delilah (opera)|Samson et Delila]]'', has an assured place in the repertoire.<ref>''Viking Opera Guide'' p.929. ''Viking'' says Saint-Saëns wrote 13 operas, including his part in an unfinished work by Guiraud and two ''opéra comiques''.</ref>
*'''[[Camille Saint-Saëns]]''' (1835-1921) French composer of around a dozen operas of which one, the Biblical ''[[Samson and Delilah (opera)|Samson et Delila]]'', has an assured place in the repertoire.<ref>''Viking Opera Guide'' p.929. ''Viking'' says Saint-Saëns wrote 13 operas, including his part in an unfinished work by [[Ernest Guiraud|Guiraud]] and two ''opéra comiques''.</ref>
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*'''[[Georges Bizet]]''' (1835-1875). Bizet's masterwork ''[[Carmen]]'' is a staple of the repertoire of opera houses the world over. At the time of its premiere, the controversial plot scandalised both critics and the public.<ref>Orrey p.156-157</ref>
*'''[[Léo Delibes]]''' (1836-1891) French composer, whose ''[[Lakmé]]'' is notable for its [[The Flower Duet|Flower duet]] and as a vehicle for [[coloratura]] [[soprano]]s.<ref>''Viking Opera Guide'' p.253.</ref>
*'''[[Léo Delibes]]''' (1836-1891) French composer, whose ''[[Lakmé]]'' is notable for its [[The Flower Duet|Flower duet]] and as a vehicle for [[coloratura]] [[soprano]]s.<ref>''Viking Opera Guide'' p.253.</ref>
*'''[[Modest Mussorgsky]]''' (1839-1881). Mussorgsky only completed one opera, but ''[[Boris Gudonov (opera)|Boris Gudonov]]'' proved to be inspiration for generations of Russian composers on account of its uniquely nationalist character.<ref>Britannica p.637 C.2</ref>
*'''[[Modest Mussorgsky]]''' (1839-1881) Mussorgsky only completed one opera, but ''[[Boris Gudonov (opera)|Boris Gudonov]]'' proved to be inspiration for generations of Russian composers on account of its uniquely nationalist character.<ref>Britannica p.637 C.2</ref>
*'''[[Pyotr Ilyich Tchaikovsky]]''' (1840-1893) Tchaikovsky's international fame as an opera composer mainly rests on two works, ''[[Eugene Onegin]]'' and ''[[The Queen of Spades]]''.<ref>Orrey p.182</ref> Less interested in cultivating a uniquely Russian style than his contemporary [[Mussorgsky]], Tchaikovsky also shows the influence of [[Mozart]], [[bel canto]] and Bizet's ''[[Carmen]]'' in these pieces.<ref>David Brown (author of the four-volume ''Tchaikovksy: A Biographical and Critical Study'', Gollancz, 1978-91) in ''Viking Opera Guide'', pp. 1083-1095</ref>
*'''[[Pyotr Ilyich Tchaikovsky]]''' (1840-1893) Tchaikovsky's international fame as an opera composer mainly rests on two works, ''[[Eugene Onegin]]'' and ''[[The Queen of Spades]]''.<ref>Orrey p.182</ref> Less interested in cultivating a uniquely Russian style than his contemporary [[Mussorgsky]], Tchaikovsky also shows the influence of [[Mozart]], [[bel canto]] and Bizet's ''[[Carmen]]'' in these pieces.<ref>David Brown (author of the four-volume ''Tchaikovksy: A Biographical and Critical Study'', Gollancz, 1978-91) in ''Viking Opera Guide'', pp. 1083-1095</ref>
*'''[[Emmanuel Chabrier]]''' (1841-1894) had ambitions to write grand operas in the Wagnerian vein, but is now most celebrated for lighter pieces, such as ''[[L'étoile]]'', which were greatly admired by Ravel and Poulenc.<ref>''Viking Opera Guide'' p. 197</ref>
*'''[[Emmanuel Chabrier]]''' (1841-1894) had ambitions to write grand operas in the Wagnerian vein, but is now most celebrated for lighter pieces, such as ''[[L'étoile]]'', which were greatly admired by Ravel and Poulenc.<ref>''Viking Opera Guide'' p. 197</ref>
*'''[[Antonín Dvořák]]''' (1841-1904) was the leading Czech opera composer between Smetana and Janacek. His ''[[Rusalka (opera)|Rusalka]]'', based on the [[Ondine (mythology)|Undine]] legend, is his most popular work internationally.<ref>''Viking Opera Guide'' p.302</ref>
*'''[[Antonín Dvořák]]''' (1841-1904) was the leading Czech opera composer between [[Smetana]] and [[Janacek]]. His ''[[Rusalka (opera)|Rusalka]]'', based on the [[Ondine (mythology)|Undine]] legend, is his most popular work internationally.<ref>''Viking Opera Guide'' p.302</ref>
*'''[[Jules Massenet]]''' (1842-1912) Arguably the most representative French opera composer of his era (the ''[[Belle Époque]]''), Massenet was a prolific and versatile writer whose works cover a wide variety of themes.<ref>Orrey p.156</ref> His popularity faded somewhat after the First World War, but ''[[Werther]]'' and ''[[Manon]]'' still make regular appearances in the opera house.<ref>Graham Dixon in ''Viking Opera Guide'', p. 622</ref>
*'''[[Jules Massenet]]''' (1842-1912) Arguably the most representative French opera composer of his era (the ''[[Belle Époque]]''), Massenet was a prolific and versatile writer whose works cover a wide variety of themes.<ref>Orrey p.156</ref> His popularity faded somewhat after the First World War, but ''[[Werther]]'' and ''[[Manon]]'' still make regular appearances in the opera house.<ref>Graham Dixon in ''Viking Opera Guide'', p. 622</ref>
*'''[[Nikolai Rimsky-Korsakov]]''' (1844-1908) Russian composer who wrote colourful operas on legendary and historical subjects.<ref>''Viking Opera Guide'' p.864</ref>
*'''[[Nikolai Rimsky-Korsakov]]''' (1844-1908) Russian composer who wrote colorful operas on legendary and historical subjects.<ref>''Viking Opera Guide'' p.864</ref>


==1850-1899==
==1850-1899==
Line 60: Line 61:
*'''[[Leoš Janáček]]''' (1854-1928). Janáček's first mature opera (''[[Jenufa]]'') blended folksong-like melodies and an emphasis on natural speech-rhythms à la [[Modest Mussorgsky|Mussorgsky]] with a character-driven plot of some intensity;<ref>Britannica p.638 C.2</ref> his later works became increasingly terse, with recurrent melodic fragments, lyrical outbursts and unconventional orchestration serving a diverse collection of source-material - just a few bars of these operas can instantly be identified as his.
*'''[[Leoš Janáček]]''' (1854-1928). Janáček's first mature opera (''[[Jenufa]]'') blended folksong-like melodies and an emphasis on natural speech-rhythms à la [[Modest Mussorgsky|Mussorgsky]] with a character-driven plot of some intensity;<ref>Britannica p.638 C.2</ref> his later works became increasingly terse, with recurrent melodic fragments, lyrical outbursts and unconventional orchestration serving a diverse collection of source-material - just a few bars of these operas can instantly be identified as his.
*'''[[Ruggero Leoncavallo]]''' (1857-1919) Italian composer associated with [[verismo]]. His ''[[I pagliacci]]'' is a staple of the operatic repertoire and is usually given alongside Mascagni's ''[[Cavalleria rusticana]]''. <ref>''Viking Opera Guide'' p.563</ref>
*'''[[Ruggero Leoncavallo]]''' (1857-1919) Italian composer associated with [[verismo]]. His ''[[I pagliacci]]'' is a staple of the operatic repertoire and is usually given alongside Mascagni's ''[[Cavalleria rusticana]]''. <ref>''Viking Opera Guide'' p.563</ref>
*'''[[Giacomo Puccini]]''' (1858-1923). The only true successor to Giuseppe Verdi in Italian opera,<ref>Orrey p.225</ref> Puccini's ''[[Tosca]]'', ''[[La Bohème]]'' and ''[[Madama Butterfly]]'' are among the most popular and well-recognised in the repertoire today.
*'''[[Giacomo Puccini]]''' (1858-1923). The only true successor to Giuseppe Verdi in Italian opera,<ref>Orrey p.225</ref> Puccini's ''[[Tosca]]'', ''[[La Bohème]]'' and ''[[Madama Butterfly]]'' are among the most popular and well-recognized in the repertoire today.
*'''[[Gustave Charpentier]]''' (1860-1956) French composer famous for a single opera, ''[[Louise (opera)|Louise]]'', set in a working class district of Paris.<ref>''Viking Opera Guide'' pp.202-204</ref>
*'''[[Gustave Charpentier]]''' (1860-1956) French composer famous for a single opera, ''[[Louise (opera)|Louise]]'', set in a working-class district of Paris.<ref>''Viking Opera Guide'' pp.202-204</ref>
*'''[[Pietro Mascagni]]''' (1863-1945) Italian composer, famous above all for ''[[Cavalleria rusticana]]'', usually given in a double-bill with Leoncavallo's ''[[I pagliacci]]''.<ref>''Viking Opera Guide'' p.617</ref>
*'''[[Pietro Mascagni]]''' (1863-1945) Italian composer, famous above all for ''[[Cavalleria rusticana]]'', usually given in a double-bill with Leoncavallo's ''[[I pagliacci]]''.<ref>''Viking Opera Guide'' p.617</ref>
*'''[[Richard Strauss]]''' (1864-1949). Strauss was one of very few opera composers in the early years of the 20th century to accept and conquer the challenge laid down by the scale and radicalness of Wagner's innovative works<ref>Orrey p.213</ref>. He composed several operas that remain extremely popular today, including ''[[Salome (opera)|Salome]]'', ''[[Elektra (opera)|Elektra]]'', and ''[[Der Rosenkavalier]]''.<ref>Britannica p.637 C.2</ref>
*'''[[Richard Strauss]]''' (1864-1949). Strauss was one of very few opera composers in the early years of the 20th century to accept and conquer the challenge laid down by the scale and radicalness of Wagner's innovative works<ref>Orrey p.213</ref>. He composed several operas that remain extremely popular today, including ''[[Salome (opera)|Salome]]'', ''[[Elektra (opera)|Elektra]]'', and ''[[Der Rosenkavalier]]''.<ref>Britannica p.637 C.2</ref>
*'''[[Claude Debussy]]''' (1862-1918) Like [[Beethoven]], Debussy finished only one opera, but his setting of [[Maeterlinck|Maeterlinck's]] [[Symbolist]] play ''[[Pelléas et Mélisande]]'' is a key work in twentieth century music drama.<ref>Orrey p.216</ref> In many ways an "anti-opera", ''Pelléas'' contained little of the conventional singing or action audiences at the premiere had come to expect, but Debussy used his subtle orchestration to create an elusive, dream-like atmosphere, which still has the power to fascinate (or repel) listeners today.
*'''[[Claude Debussy]]''' (1862-1918) Like [[Beethoven]], Debussy finished only one opera, but his setting of [[Maeterlinck|Maeterlinck's]] [[Symbolist]] play ''[[Pelléas et Mélisande]]'' is a key work in twentieth century music drama.<ref>Orrey p.216</ref> In many ways an "anti-opera", ''Pelléas'' contained little of the conventional singing or action audiences at the premiere had come to expect, but Debussy used his subtle orchestration to create an elusive, dream-like atmosphere, which still has the power to fascinate (or repel) listeners today.
*'''[[Hans Pfitzner]]''' (1869-1949) A follower of Wagner, Pfitzner is best known for the opera ''[[Palestrina (opera)|Palestrina]]'' which explores the debate between tradition and innovation in music.<ref>''Viking Opera Guide'' p.772</ref>
*'''[[Hans Pfitzner]]''' (1869-1949) A follower of [[Richard Wagner|Wagner]], Pfitzner is best known for the opera ''[[Palestrina (opera)|Palestrina]]'' which explores the debate between tradition and innovation in music.<ref>''Viking Opera Guide'' p.772</ref>
*'''[[Arnold Schoenberg]]''' (1874-1951) A leading Modernist composer and the deviser of the twelve-tone system, Schoenberg began his operatic career with the [[Expressionism|Expressionist]] monodrama ''[[Erwartung]]''. His major opera ''[[Moses und Aron]]'' was left unfinished at his death.<ref>''Viking Opera Guide'' p.952</ref>
*'''[[Arnold Schoenberg]]''' (1874-1951) A leading Modernist composer and the deviser of the twelve-tone system, Schoenberg began his operatic career with the [[Expressionism|Expressionist]] monodrama ''[[Erwartung]]''. His major opera ''[[Moses und Aron]]'' was left unfinished at his death.<ref>''Viking Opera Guide'' p.952</ref>
*'''[[Maurice Ravel]]''' (1875-1937) wrote two short, but innovative, operas: ''[[L'enfant et les sortilèges]]'', set in the world of childhood, and the Spanish-flavoured ''[[L'heure espagnole]]''.<ref>''Viking Opera Guide'' p.848</ref>
*'''[[Maurice Ravel]]''' (1875-1937) wrote two short, but innovative, operas: ''[[L'enfant et les sortilèges]]'', set in the world of childhood, and the Spanish-flavored ''[[L'heure espagnole]]''.<ref>''Viking Opera Guide'' p.848</ref>
*'''[[Franz Schreker]]''' (1878-1934) An Austrian composer associated with [[Expressionism (music)|Expressionism]], Schreker once rivalled Richard Strauss in popularity but, as a Jew, he fell foul of the Nazis. His operas include ''[[Der ferne Klang]]'' and ''[[Die Gezeichneten]]''.<ref>''Viking Opera Guide'' p.958</ref>
*'''[[Franz Schreker]]''' (1878-1934) An Austrian composer associated with [[Expressionism (music)|Expressionism]], Schreker once rivalled Richard Strauss in popularity but, as a Jew, he fell foul of the Nazis. His operas include ''[[Der ferne Klang]]'' and ''[[Die Gezeichneten]]''.<ref>''Viking Opera Guide'' p.958</ref>
*'''[[Igor Stravinsky]]''' (1882-1971.) After composing the Rimsky-Korsakov-inspired ''[[The Nightingale (opera)|The Nightingale]]'' and the near-operas ''[[Renard (Stravinsky)|Renard]]'' and ''[[Histoire du Soldat|The Soldier's Tale]]'', Stravinsky bucked 20th-century trends by composing a "number" opera, ''[[The Rake's Progress]]'', using diatonicism.<ref>Orrey p.220</ref>
*'''[[Igor Stravinsky]]''' (1882-1971) After composing the [[Rimsky-Korsakov]]-inspired ''[[The Nightingale (opera)|The Nightingale]]'' and the near-operas ''[[Renard (Stravinsky)|Renard]]'' and ''[[Histoire du Soldat|The Soldier's Tale]]'', Stravinsky bucked 20th-century trends by composing a "number" opera, ''[[The Rake's Progress]]'', using diatonicism.<ref>Orrey p.220</ref>
*'''[[Alban Berg]]''' (1885-1935). Because of their [[atonal]] music which uses tonal conventions harkening back to late romanticism<ref>http://www.wwnorton.com/classical/composers/berg.htm consulted September 10, 2006</ref> and tragic libretti, Berg's masterworks ''[[Wozzeck]]'' and ''[[Lulu (opera)|Lulu]]'' have stayed in the repertory and assumed increased popularity after his death.<ref>Orrey p. 225</ref>
*'''[[Alban Berg]]''' (1885-1935). Because of their [[atonal]] music which uses tonal conventions harkening back to late romanticism<ref>http://www.wwnorton.com/classical/composers/berg.htm consulted September 10, 2006</ref> and tragic libretti, Berg's masterworks ''[[Wozzeck]]'' and ''[[Lulu (opera)|Lulu]]'' have stayed in the repertory and assumed increased popularity after his death.<ref>Orrey p. 225</ref>
*'''[[Béla Bartók]]''' (1881-1945) wrote only one opera, ''[[Duke Bluebeard's Castle]]'', a key piece in twentieth century music theatre and the only Hungarian work with a secure place in the international operatic repertoire.<ref>''Viking Opera Guide'' p.55</ref>
*'''[[Béla Bartók]]''' (1881-1945) wrote only one opera, ''[[Duke Bluebeard's Castle]]'', a key piece in twentieth century music theatre and the only Hungarian work with a secure place in the international operatic repertoire.<ref>''Viking Opera Guide'' p.55</ref>
*'''[[Sergei Prokofiev]]''' (1891-1953) A major modern composer in the Russian tradition,<ref>Britannica p.637 C.1</ref> Prokofiev produced operas on a wide variety of subjects, from the comic fairy-tale ''[[The Love for Three Oranges]]'', to the dark and occult ''[[The Fiery Angel]]'' and the epic ''[[War and Peace (Prokofiev)|War and Peace]]''. Like Shostakovich, Prokofiev suffered under the Soviet artistic regime, but his work has recently been championed by conductors such as [[Valery Gergiev]].
*'''[[Sergei Prokofiev]]''' (1891-1953) A major modern composer in the Russian tradition,<ref>Britannica p.637 C.1</ref> Prokofiev produced operas on a wide variety of subjects, from the comic fairy-tale ''[[The Love for Three Oranges]]'', to the dark and occult ''[[The Fiery Angel]]'' and the epic ''[[War and Peace (Prokofiev)|War and Peace]]''. Like [[Shostakovich]], Prokofiev suffered under the Soviet artistic regime, but his work has recently been championed by conductors such as [[Valery Gergiev]].
*'''[[Paul Hindemith]]''' (1895-1963) A German composer who came to prominence in the years following the First World War. His key opera ''[[Mathis der Maler (opera)|Mathis der Maler]]'', dealing with the problems of an artist in a time of crisis, has been seen as an allegory of Hindemith's situation during the Third Reich.<ref>''Viking Opera Guide'' p.467</ref>
*'''[[Paul Hindemith]]''' (1895-1963) A German composer who came to prominence in the years following the First World War. His key opera ''[[Mathis der Maler (opera)|Mathis der Maler]]'', dealing with the problems of an artist in a time of crisis, has been seen as an allegory of Hindemith's situation during the Third Reich.<ref>''Viking Opera Guide'' p.467</ref>
*'''[[George Gershwin]]''' (1898-1937) owes his place in the standard operatic repertoire to ''[[Porgy and Bess]]''.<ref>''Viking Opera Guide'' p.348</ref>
*'''[[George Gershwin]]''' (1898-1937) owes his place in the standard operatic repertoire to ''[[Porgy and Bess]]''.<ref>''Viking Opera Guide'' p.348</ref>
Line 80: Line 81:
*'''[[William Walton]]''' (1902-1983) Walton's major opera is ''[[Troilus and Cressida (opera)|Troilus and Cressida]]''.<ref>''Viking Opera Guide'' p.1207</ref>
*'''[[William Walton]]''' (1902-1983) Walton's major opera is ''[[Troilus and Cressida (opera)|Troilus and Cressida]]''.<ref>''Viking Opera Guide'' p.1207</ref>
*'''[[Michael Tippett]]''' (1905-1998) Probably the most famous British composer to follow in the wake of Benjamin Britten, Tippett wrote operas exploring metaphysical and social themes. They include ''[[The Midsummer Marriage]]'' and ''[[The Knot Garden]]''.<ref>''Viking Opera Guide'' p.1102</ref>
*'''[[Michael Tippett]]''' (1905-1998) Probably the most famous British composer to follow in the wake of Benjamin Britten, Tippett wrote operas exploring metaphysical and social themes. They include ''[[The Midsummer Marriage]]'' and ''[[The Knot Garden]]''.<ref>''Viking Opera Guide'' p.1102</ref>
*'''[[Dmitri Shostakovich]]''' (1906-1975) Shostakovich's most famous opera, ''[[Lady Macbeth of the Mtsensk District (opera)|Lady Macbeth of the Mtsensk District]]'', a violent love story set in provincial Russia, scandalised the Soviet authorities. He later produced a censored version, ''[[Katerina Ismailova]]''. Nevertheless, the original has become one of the most performed operatic works of the twentieth century.<ref>Orrey p.232</ref>
*'''[[Dmitri Shostakovich]]''' (1906-1975) Shostakovich's most famous opera, ''[[Lady Macbeth of the Mtsensk District (opera)|Lady Macbeth of the Mtsensk District]]'', a violent love story set in provincial Russia, scandalized Soviet authorities. He later produced a censored version, ''[[Katerina Ismailova]]''. Nevertheless, the original has become one of the most performed operatic works of the twentieth century.<ref>Orrey p.232</ref>
*'''[[Samuel Barber]]''' (1910-1981) American who composed two major operas, ''[[Vanessa (opera)|Vanessa]]'' and ''[[Antony and Cleopatra (opera)|Antony and Cleopatra]]''.<ref>''Viking Opera Guide'' p.51</ref>
*'''[[Samuel Barber]]''' (1910-1981) American who composed two major operas, ''[[Vanessa (opera)|Vanessa]]'' and ''[[Antony and Cleopatra (opera)|Antony and Cleopatra]]''.<ref>''Viking Opera Guide'' p.51</ref>
*'''[[Gian Carlo Menotti]]''' (1911-) American composer, particularly famous for the Christmas piece ''[[Amahl and the Night Visitors]]'', the first opera to be written specifically for television.<ref>''Viking Opera Guide'' p.648</ref>
*'''[[Gian Carlo Menotti]]''' (born 1911) American composer, particularly famous for the Christmas piece ''[[Amahl and the Night Visitors]]'', the first opera to be written specifically for television.<ref>''Viking Opera Guide'' p.648</ref>
*'''[[Benjamin Britten]]''' (1913-1976). One of the handful of British opera composers to reach international acclaim, and one of the extremely few composers of 20th century operas that stayed in the standard repertory after their premieres. These operas include his masterworks ''[[Peter Grimes]]'', ''[[A Midsummer Night's Dream]]'', and ''[[The Turn of the Screw (opera)|The Turn of the Screw]]''.<ref>Orrey p.234</ref>
*'''[[Benjamin Britten]]''' (1913-1976) One of the handful of British opera composers to reach international acclaim, and one of the extremely few composers of 20th century operas that stayed in the standard repertory after their premieres. These operas include his masterworks ''[[Peter Grimes]]'', ''[[A Midsummer Night's Dream]]'', and ''[[The Turn of the Screw (opera)|The Turn of the Screw]]''.<ref>Orrey p.234</ref>
*'''[[Hans Werner Henze]]''' (1926-) One of the most widely performed post-war opera composers, Henze's works include ''[[The Bassarids]]'' and ''[[Elegy for Young Lovers]]''.<ref>''Viking Opera Guide'' p.461</ref>
*'''[[Hans Werner Henze]]''' (born 1926) One of the most widely performed post-war opera composers, Henze's works include ''[[The Bassarids]]'' and ''[[Elegy for Young Lovers]]''.<ref>''Viking Opera Guide'' p.461</ref>
*'''[[Peter Maxwell Davies]]''' (1934-) A British modernist of the "Manchester school", Davies has written many stage works, including ''[[Taverner (opera)|Taverner]]'' and ''[[The Martyrdom of Saint Magnus]]''.<ref>''Viking Opera Guide'' p.243</ref>
*'''[[Peter Maxwell Davies]]''' (born 1934) A British modernist of the "Manchester school", Davies has written many stage works, including ''[[Taverner (opera)|Taverner]]'' and ''[[The Martyrdom of Saint Magnus]]''.<ref>''Viking Opera Guide'' p.243</ref>
*'''[[Philip Glass]]''' (1937-) A leading American composer of the [[minimalism (music)|minimalist school]], Glass first came to fame with the opera ''[[Einstein on the Beach]]'', a collaboration with the theatre director [[Robert Wilson]]. Many stage works (including ''[[Akhnaten (opera)|Akhnaten]]'' and ''[[The Voyage]]'') followed.<ref>''Viking Opera Guide'' p.360</ref>
*'''[[Philip Glass]]''' (born 1937) A leading American composer of the [[minimalism (music)|minimalist school]], Glass first came to fame with the opera ''[[Einstein on the Beach]]'', a collaboration with the theatre director [[Robert Wilson]]. Many stage works (including ''[[Akhnaten (opera)|Akhnaten]]'' and ''[[The Voyage]]'') followed.<ref>''Viking Opera Guide'' p.360</ref>
*'''[[John Coolidge Adams|John Adams]]''' (1947-) Like Glass, Adams started as a [[minimalism (music)|minimalist]]. His operas dealing with contemporary subjects, ''[[Nixon in China (opera)|Nixon in China]]'' and ''[[The Death of Klinghoffer]]'', have gained critical acclaim as well as provoking political controversy.<ref>''Viking Opera Guide'' p.17</ref>
*'''[[John Coolidge Adams|John Adams]]''' (born 1947) Like Glass, Adams started as a [[minimalism (music)|minimalist]]. His operas dealing with contemporary subjects, ''[[Nixon in China (opera)|Nixon in China]]'' and ''[[The Death of Klinghoffer]]'', have gained critical acclaim as well as provoking political controversy.<ref>''Viking Opera Guide'' p.17</ref>


==Major women opera composers==
==Major women opera composers==
Line 95: Line 96:
* '''[[Dame Ethel Smyth]]''' (1858-1944) is perhaps most famous for her work for the [[suffragette]]s; however, she also wrote several operas of note, including ''[[The Wreckers]]''.
* '''[[Dame Ethel Smyth]]''' (1858-1944) is perhaps most famous for her work for the [[suffragette]]s; however, she also wrote several operas of note, including ''[[The Wreckers]]''.


* '''[[Judith Weir]]''' (1954-) began composing full-length operas in 1987 with ''[[A Night at the Chinese Opera]]''.
* '''[[Judith Weir]]''' (born 1954) began composing full-length operas in 1987 with ''[[A Night at the Chinese Opera]]''.


==Lists consulted==
==Lists consulted==
This list was compiled by consulting ten lists of great opera composers, created by recognized authorities in the field of opera, and selecting all of the composers who appeared on at least six of these (i.e. all composers on a majority of the lists). [[Judith Weir]] (1954-) appears on four of the ten lists consulted, more than any other female composer in the sample. The lists used were:
This list was compiled by consulting ten lists of great opera composers, created by recognized authorities in the field of opera, and selecting all of the composers who appeared on at least six of these (i.e. all composers on a majority of the lists). [[Judith Weir]] appears on four of the ten lists consulted, more than any other female composer in the sample. The lists used were:


# [http://www.bbc.co.uk/wales/cardiffsinger05/generic/guide_opera.shtml Graeme Kay's Guide to Opera, produced for the BBC]
# [http://www.bbc.co.uk/wales/cardiffsinger05/generic/guide_opera.shtml Graeme Kay's Guide to Opera, produced for the BBC]
# [http://www.answers.com/topic/opera The "Opera" Encyclopedia Brittanica article]
# [http://www.answers.com/topic/opera The "Opera" Encyclopedia Britannica article]
# [http://www.answers.com/topic/opera The "Opera" Columbia University Press Encyclopedia article]
# [http://www.answers.com/topic/opera The "Opera" Columbia University Press Encyclopedia article]
# Composers mentioned in [[Nicholas Kenyon]]'s introduction to the ''Viking Opera Guide'' (1993 edition) ISBN 0-670812927.
# Composers mentioned in [[Nicholas Kenyon]]'s introduction to the ''Viking Opera Guide'' (1993 edition) ISBN 0-670812927.

Revision as of 00:57, 21 November 2006

This list provides a guide to the most important opera composers, as determined by their presence on a majority of compiled lists of the most important opera composers. See the "Lists Consulted" section for full details of this selection process. Organization is by birthdate.

1550-1699

Jacopo Peri, who composed the first ever opera, Dafne.
Stay, Prince and hear
A scene from Purcell's operatic masterpiece, Dido and Aeneas. The witches' messenger, in the form of Mercury himself, attempts to convince Aeneas to leave Carthage. Note the use of Italian-style recitative, a rarity in English opera at that time.[12]
Problems playing this file? See media help.

1700-1799

File:CW-Gluck-Joseph-Siffred Duplessis1.jpg
Gluck, detail of a portrait by Joseph Duplessis, dated 1775 (Kunsthistorisches Museum, Vienna)

Template:Multi-listen start Template:Multi-listen item Template:Multi-listen end

1800-1849

Giuseppe Verdi, by Giovanni Boldini, 1886 (National Gallery of Modern Art, Rome).

1850-1899

File:GPuccini.jpg
Giacomo Puccini

1900-present

File:Shostakovichportraitphoto.jpg
Dmitri Shostakovich

Major women opera composers

John Singer Sargent: Ethel Smyth, 1901

Opera, with its high cost of production and high status, has historically been very difficult for women to break into,[78] and no female composer appears on more than four of the lists of great opera composers consulted in compiling the list above. However, two women composers do appear on the lists consulted for this article:

Lists consulted

This list was compiled by consulting ten lists of great opera composers, created by recognized authorities in the field of opera, and selecting all of the composers who appeared on at least six of these (i.e. all composers on a majority of the lists). Judith Weir appears on four of the ten lists consulted, more than any other female composer in the sample. The lists used were:

  1. Graeme Kay's Guide to Opera, produced for the BBC
  2. The "Opera" Encyclopedia Britannica article
  3. The "Opera" Columbia University Press Encyclopedia article
  4. Composers mentioned in Nicholas Kenyon's introduction to the Viking Opera Guide (1993 edition) ISBN 0-670812927.
  5. "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.
  6. Composers mentioned in the chronology by Mary Ann Smart in The Oxford Illustrated History of Opera (OUP, 1994) ISBN 0-19-816282-0.
  7. "A Bird's Eye View of the World's Chief Opera Composers" in The Oxford Companion to Music by Percy Scholes (10th edition revised by John Owen Ward, 1970). ISBN 0-19-311-306-6.
  8. Composers with recordings included in The Penguin Guide to Opera on Compact Discs ed. Greenfield, March and Layton (1993 edition) ISBN 0-14-046957-5.
  9. The New Kobbe's Opera Book, ed. Lord Harewood (1997 edition) ISBN 0399143327.
  10. Table of Contents of The Rough Guide to Opera by Matthew Boyden. (2002 edition) ISBN 1858287499.

Note:

  • The composers included in all 10 lists cited are: Berg, Britten, Donizetti, Gluck, Handel, Monteverdi, Mozart, Puccini, Rameau, Rossini, Richard Strauss, Verdi, and Wagner.
  • The composers included in nine of the lists are: Bellini, Berlioz, Bizet, Glinka, Gounod, Lully, Massenet, Mussorgsky, and Tchaikovsky
  • The composers included in eight of the lists are: Adams, Debussy, Glass, Henze, Janacek, Leoncavallo, Menotti, Meyerbeer, Pergolesi, Purcell, Rimsky-Korsakov, Schoenberg, Smetana, Thomas (Ambroise), Tippett, and Weber
  • The composers included in seven of the lists are: Auber, Beethoven, Borodin, Cavalli, Cherubini, Cimarosa, Delibes, Hindemith, Mascagni, Offenbach, Prokofiev, Ravel, Saint-Saens, Shostakovich, and Gustave Charpentier
  • The composers included in six of the lists are: Barber, Bartók, Chabrier, Peter Maxwell Davies, Dvořák, Gay and Pepusch, Gershwin, Halévy, Peri, Pfitzner, Scarlatti, Schreker, Spontini, Stravinsky, Walton.
  • Judith Weir was included in four lists; Dame Ethel Smyth in two.

Notes

  1. ^ Viking Opera Guidep.768
  2. ^ Orrey p.18
  3. ^ Professor Tim Carter in Viking Opera Guide (p.678) writes: "Monteverdi's recitative owes much to Peri...However "Orfeo" has much broader roots. There are many references to the tradition of the Florentine intermedi: the spectacular stage effects, the mythological subject matter, the allegorical figures, the number and scoring of the instruments and the extended choruses". See also Carter, writing about the intermedi in The Oxford Illustrated History of Opera (p.4): "rich display and erudite symbolism made the intermedi an ideal projection of princely magnificence".
  4. ^ Viking Opera Guide p.189
  5. ^ Orrey p.35
  6. ^ Orrey p.55
  7. ^ Viking Opera Guide p.942
  8. ^ Orrey p.40
  9. ^ Orrey p.40
  10. ^ Viking Opera Guide p.343
  11. ^ Orrey p.59
  12. ^ Orrey p.59
  13. ^ Oxford Companion to Music, p. 783
  14. ^ Orrey p.85
  15. ^ Viking Opera Guide p.216-218
  16. ^ Orrey p.101
  17. ^ Viking Opera Guide p.210
  18. ^ Orrey p.139
  19. ^ Viking Opera Guide p.1002
  20. ^ Viking Opera Guide pp.37-38
  21. ^ Orrey p. 140
  22. ^ Oxford Illustrated History of Opera p.146-150
  23. ^ Britannica p.631 C.2
  24. ^ Britannica p.631 C.2
  25. ^ Orrey p.134
  26. ^ Viking Opera Guide p.412
  27. ^ Orrey p.129-133
  28. ^ Orrey p.153
  29. ^ Orrey p.154
  30. ^ Orrey p.180
  31. ^ Viking Opera Guide p.1098.
  32. ^ Orrey p. 168-169
  33. ^ Orrey p.137-147
  34. ^ Orrey p.154
  35. ^ Britannica p.633 C.1
  36. ^ Orrey p.177
  37. ^ Viking Opera Guide p.134
  38. ^ Orrey p. 156-157
  39. ^ Viking Opera Guide p.929. Viking says Saint-Saëns wrote 13 operas, including his part in an unfinished work by Guiraud and two opéra comiques.
  40. ^ Viking Opera Guide p.253.
  41. ^ Britannica p.637 C.2
  42. ^ Orrey p.182
  43. ^ David Brown (author of the four-volume Tchaikovksy: A Biographical and Critical Study, Gollancz, 1978-91) in Viking Opera Guide, pp. 1083-1095
  44. ^ Viking Opera Guide p. 197
  45. ^ Viking Opera Guide p.302
  46. ^ Orrey p.156
  47. ^ Graham Dixon in Viking Opera Guide, p. 622
  48. ^ Viking Opera Guide p.864
  49. ^ Britannica p.638 C.2
  50. ^ Viking Opera Guide p.563
  51. ^ Orrey p.225
  52. ^ Viking Opera Guide pp.202-204
  53. ^ Viking Opera Guide p.617
  54. ^ Orrey p.213
  55. ^ Britannica p.637 C.2
  56. ^ Orrey p.216
  57. ^ Viking Opera Guide p.772
  58. ^ Viking Opera Guide p.952
  59. ^ Viking Opera Guide p.848
  60. ^ Viking Opera Guide p.958
  61. ^ Orrey p.220
  62. ^ http://www.wwnorton.com/classical/composers/berg.htm consulted September 10, 2006
  63. ^ Orrey p. 225
  64. ^ Viking Opera Guide p.55
  65. ^ Britannica p.637 C.1
  66. ^ Viking Opera Guide p.467
  67. ^ Viking Opera Guide p.348
  68. ^ Viking Opera Guide p.1207
  69. ^ Viking Opera Guide p.1102
  70. ^ Orrey p.232
  71. ^ Viking Opera Guide p.51
  72. ^ Viking Opera Guide p.648
  73. ^ Orrey p.234
  74. ^ Viking Opera Guide p.461
  75. ^ Viking Opera Guide p.243
  76. ^ Viking Opera Guide p.360
  77. ^ Viking Opera Guide p.17
  78. ^ See, e.g. Katherine Kolb's review of Women Writing Opera: Creativity and Controversy in the Age of the French Revolution.

See also

References

  • The New Grove Dictionary of Opera, edited by Stanley Sadie (1992), 5,448 pages, is perhaps the largest general reference concerning Opera in the English language. ISBN 0-333-73432-7 and ISBN 1-56159-228-5
  • The Viking Opera Guide (1993; other editions since), 1,328 pages, ISBN 0-670812927. Describes over 800 opera composers (listed in alphabetical order). Contributions are by noted specialists in their fields.
  • The Oxford Dictionary of Opera, by John Warrack and Ewan West (1992), 782 pages, ISBN 0-19-869164-5
  • Opera, the Rough Guide, by Matthew Boyden et al. (1997), 672 pages, ISBN 1-85828-138-5
  • Opera: A Concise History, by Leslie Orrey and Rodney Milne, World of Art, Thames & Hudson. ISBN 0-500-20247-6
  • Encyclopedia Britannica: Macropedia Volume 24, 15th edition. "Opera" in "Musical forms and genres". ISBN 0-85229-434-4
  • The Oxford Illustrated History of Opera, ed. Roger Parker (OUP,1994). 541 pages. ISBN 0-19-816282-0


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