Milton Cross (1897–1975)

Opera is story-telling. Milton Cross spent years introducing the performances as broadcast on radio, and knows the many stories within the stories. While the performance pulls our emotions, the study of it pushes the joy.
Ordinarily I enjoy being contemptuous of people who press inanities upon us and wile our time away in trivia. Opera "buffs" are often standouts in that invidious tribe. However, gloriously, Maestro Cross is not a member! You want him to tell us more, not less! {Rising as a show more body shouting BRAVO-OO!}
This is the first of Cross' two volumes. He took pains not to "select" his own favorites, but reviews the operas which were most often produced. The second edition was made in 1971 after the art form went through some of its most transformative changes. show less

Fifteen years after the 2d edition of Complete Stories of the Great Operas was published with the stories of 76 classic operas, in 1971, Maestro Cross offered this recitative' of 45 more. The publications bookend the period -- the "Sixties" -- in which opera experienced the most profound changes in its four hundred year history. The stories remain indelible, the music moving -- albeit reflecting the restless tempers of the times.
What is this, then? What is the appeal of music, and of music show more delivered by human voice? How we remain lured to the stage by "special effects"! By craft, and of course, by the story itself! In opera, as a consummation of all conceivable arts, we have an enduring source of inspiration and pleasure which this author, this maestro, manages to capture and in turning page, to thrill us.
In addition to the opera stories, the two volumes each contain: Biographies of leading singers (past and present); a Survey of activity; a Glossary of terms; a Bibliography; and a list of Opera Organizations.
You want this book for the "opera stories" -- these are not merely plot synopses that leave you clueless about the richness and inspirational value of the experience. For example, that Italians think Nabucco is about them (and it is). Or that when Lavinia (aka, in the opera by Marvin Levy of Eugene O'Neill' play, Mourning Becomes "Electra") poignantly rues a regret "she cannot pity what she does not understand", the feeling is underscored with a variation of the double minor-third in her duet with her mother, Christine aka Clytemnestra. [274] show less

This book is really my go-to classical music volume. It is a great resource, providing a brief biography of a number of classical composers, as well as their major works, and the themes in those works/how they came to write them. I could wish for an updated version, although I am woefully ignorant of how classical music may have progressed since its publication.

I have wandered through this book from time to time, mainly when I need to know the backround of a specific opera! It is a good book to have on hand if you are just beginning to frequent operas. A quick read (each story is far under a hundred pages) and you can hold your own with the opera-snobs.