Opera lovers share their favorites

With thousands of operas in the canon, there’s something for everyone. But when you’re new to the genre, it can be intimidating. While there’s no “perfect” first opera, we think our Opera Lovers’ Survey is a great place to start! Earlier this season, we asked BLO fans about the first operas that made them fall in love with the art form, their favorites, and those they’re longing to see on our stage. Opera fans are nothing if not passionate; their top picks provide a perfect starting point for anyone curious about opera. Whether you're drawn to the drama of Verdi, te beautiful melodies of Mozart, or contemporary opera’s modern stories, these findings can help you start on your unforgettable musical journey.

So what made the list? Keep reading to find out.?

For drama lovers

Opera has a reputation for high drama and tragic endings, and while that’s not always the case, there are plenty of tear-jerkers to choose from — and BLO fans are here for it! Out of our audience’s 12 favorite operas, only four of them were comedies.

Tragedies by Giuseppe Verdi and Giacomo Puccini dominated the favorites list, including Madama Butterfly, which BLO programmed last season to great success. If your Netflix watchlist is full of torrid romances, family drama, and doomed characters, this genre is for you. Try some of these on for size:?

Carmen by Georges Bizet?

Far from the romantic love story it’s sometimes portrayed to be, Carmen is a story of obsession, jealousy, and one man’s desire to possess what cannot be his. Required listening: “Habanera”

Tosca by Giacomo Puccini

Set against the backdrop of political turmoil in Rome, Tosca is the story of an opera singer, her rebellious lover, and a corrupt police chief, culminating in betrayal, murder, and sacrifice. Required listening: “Vissi d’arte”

Rigoletto by Giuseppe Verdi

One of Verdi’s most devastating tragedies, Rigoletto tells the tale of a court jester who is desperate to protect his daughter from a lecherous count, resulting in a heartbreaking twist of fate. Required listening: “Cortigianni, vil razza danata”?

This season at BLO, there are plenty of performances to satisfy your love of drama. You’ll love the power struggles of Mozart’s Mitridate, re di Ponto and Verdi’s beloved tale of star-crossed lovers, Aida.

Make ‘em laugh

Even the most dramatic among us needs to laugh sometimes! While tearjerkers were popular, our audiences’ favorite opera has a happy ending — Mozart’s Le nozze di Figaro! If you’re in the mood for laughs, check out some of BLO fans’ most beloved comedies.

Il barbiere di Siviglia (The Barber of Seville) by Gioachino Rossini and Le nozze di Figaro (The Marriage of Figaro) by Wolfgang Amadeus Mozart?

Why are these two grouped together? Because they’re actually parts of the same story! Both are based on Pierre Beaumarchais’ “Figaro” trilogy, three plays that follow the exploits of Figaro, Count Almaviva, and Rosine (later Countess Almaviva). All three plays have been turned into operas, but only the first two are parts of the standard operatic repertoire.?

Rossini’s Il barbiere di siviglia is based on the first play, and tells the story of Figaro, a barber, who helps Count Almaviva win the love of the beautiful Rosina, despite the schemes of her overbearing guardian, Dr. Bartolo, who wants to marry her himself. Required listening: “Largo al factotum”

Taking place within a single day, Mozart’s masterpiece is based on Beaumarchais’ second play (though Mozart’s opera was written before Rossini’s). It follows the clever Figaro and his fiancée Susanna as they navigate mistaken identities, romantic entanglements, and schemes to outwit their philandering employer, Count Almaviva —?all to ensure that their own wedding takes place. It’s a bold story of class and privilege that is just as relevant today as it was in 1786.

Required listening: “Sull’aria”

Der Rosenkavalier by Richard Strauss

Though it was written 115 years later, Richard Strauss was very inspired by Le nozze di Figaro when he wrote Der Rosenkavalier, and echoes of Mozart’s classic can be felt everywhere. In Der Rosenkavalier, the aging Marschallin tries to ensure a future for her young lover, Octavian, by arranging his courtship of the wealthy but na?ve Sophie. Set against a backdrop of Vienna's aristocratic society, the story unfolds with witty deceptions, misunderstandings, and ultimately, a poignant reflection on love and time. Required listening: “Hab’s mir Gelobt”

While not strictly a comedy, BLO’s upcoming production of Rodgers & Hammerstein’s Carousel still has plenty of laughs to please any lighthearted audience member. We promise a happy ending!?

Operatic wish list

We are always interested in what our audiences want to see on our stages —?that’s why we asked our respondents what opera they’ve never seen, but hope to see one day. Over 55 operas were mentioned, of all different genres — from Puccini’s La rondine to Benjamin Britten’s The Turn of the Screw to Jake Heggie’s Dead Man Walking — including multiple requests for contemporary operas and new works. Of the operas that were mentioned a few times, some are grand operas (those who long to see Aida, we’ve got you this year!) like La forza del destino and Wagner’s Ring Cycle, while others are more off the beaten path, like Einstein on the Beach or Omar, which we were proud to present last season. Others are part of the historic canon, with some only appearing on stage every once and a while. Check out a couple picks from this list.

Norma by Vincenzo Bellini

Most fans know Norma because of its breathtaking aria “Casta diva,” but it’s so much more. Set in ancient Gaul, Norma centers on a druid priestess, who struggles with her forbidden love for a Roman proconsul and the ensuing conflict with her own people. The drama intensifies as personal betrayal and political tensions culminate in a tragic, shocking resolution. Required listening: “Mira, o Norma”

Fidelio by Ludwig van Beethoven

Beethoven’s only opera, Fidelio, tells the story of Leonore, who disguises herself as a prison guard named Fidelio to rescue her husband, Florestan, from political imprisonment and death. The story touches on themes of freedom and justice as Leonore bravely confronts the tyrannical jailer to secure her husband's freedom. Required listening: “Abscheulicher! Wo eilst du hin?”

Opportunities to see some operas don’t come along very often, and when they do — take advantage! This season, we’re offering up three rarities: Mozart’s Mitridate, re di Ponto, Britten’s Noah’s Flood, and Erich Wolfgang Korngold’s Die tote Stadt. If you’re looking for something a little different, don’t miss these productions!?

Whether you’re captivated by intense drama, charmed by lighthearted comedy, or eagerly anticipating a personal favorite from the opera wish list, there's an opera out there that’s perfect for you. So explore, enjoy, and let the magic of opera transform your musical experiences!

Thank you for reading CODA! Coda comes from the Latin word for “tail,” and in music, it indicates an additional passage at the end of a piece of music, a final flourish that compliments what’s come before. CODA goes beyond the curtain call to explore this unique and astonishing art form. Whether you’re a first-time opera-goer or a seasoned audience member, CODA is for you. Biweekly, we’ll enhance your experience of opera with behind-the-scenes highlights, educational articles, listening lists, and much, much more!?

Tickets are on sale now for our star-studded 2024/25 season! Featuring Lawrence Brownlee and John Holiday in Mozart’s Mitridate, re di Ponto; Michelle Johnson and Morris Robinson in Verdi’s masterpiece Aida; Anthony Roth Costanzo in Vivaldi’s The Seasons; and Brandie Sutton and Jamie Barton in Rodgers and Hammerstein’s American classic, Carousel.

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