Opera as Drama

Opera as Drama examines the relationship between musical and dramatic elements in opera, focusing on works from Mozart through Wagner to Strauss and beyond. Kerman analyzes how music serves dramatic purposes and evaluates operas based on their success as musical drama. The book provides detailed analysis of specific operas, examining their musical structures, character development, and theatrical effectiveness. Through close readings of scores and libretti, Kerman demonstrates the integration of music and drama in successful opera. The study spans multiple periods and styles of opera, from Classical to Romantic to Modern, tracing the evolution of the art form. Kerman pays particular attention to landmark works that pushed boundaries and established new dramatic possibilities. Kerman's central argument positions opera as a unique dramatic medium where music and theater must work in unity to achieve artistic success. His analysis reveals how the most enduring operas achieve this synthesis while maintaining both musical excellence and dramatic power.

Music scholars and opera fans value Kerman's detailed analysis of how drama and music intertwine in opera. Multiple readers note his insights on Mozart's techniques and his examination of Verdi's dramatic structures. Readers appreciate: - Clear explanations of musical concepts for non-experts - Focus on how music serves dramatic purposes - In-depth discussion of specific operas Common criticisms: - Dense academic writing style - Dismissive tone toward certain composers - Limited coverage of 20th century works - Strong personal biases in evaluations Ratings: Goodreads: 4.0/5 (42 ratings) Amazon: 4.3/5 (11 reviews) One Amazon reviewer noted: "Kerman can be opinionated but his analyses are worth studying." A Goodreads user commented: "Changed how I listen to opera, though I disagree with some conclusions." The book maintains 4+ star ratings across platforms despite critiques of Kerman's occasionally combative scholarly stance.

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🎭 Opera as Drama (1956) revolutionized opera criticism by challenging the traditional focus on music alone, insisting that opera must be analyzed as a complete dramatic work. 🎼 Joseph Kerman sparked significant controversy in the classical music world with this book by criticizing Puccini's Tosca as a "shabby little shocker," a phrase that became notorious in opera circles. 📚 The book was substantially revised and expanded for its second edition in 1988, reflecting Kerman's evolved views after three decades of scholarly discourse. 🎓 Kerman wrote this influential work while teaching at UC Berkeley, where he would later become chairman of the music department and help establish the university as a major center for musicology. 🏛️ The book's analysis of Mozart's operas, particularly The Marriage of Figaro, established new standards for examining the relationship between music and drama in operatic works.