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The article talks about the professional competition between opera composers Giacomo Meyerbeer, Giuseppe Verdi, and Richard Wagner as the prime composer in Europe. Topics discussed include Meyerbeer, who was born Jakob Liebmann Beer, as the most influential opera composer at the time of his death, the career of Verdi in Paris, France and his opera productions which include "Don Carlos" and "Aida," and a short biography of Meyerbeer including his work "Les Huguenots."

The article discusses the adaptation of Leo Tolstoy's novel "War and Peace" into an opera by Sergei Prokofiev. The composer's operas were difficult to make, but none gave him more trouble than "War and Peace," which he never saw performed complete, although he did live long enough to make a definitive version of the score. Prokofiev respected the iconic nature of the book, but that hardly prevented him from freely adapting the material to make it work in operatic terms.

The article presents an analysis of the "Il Trittico," a collection of three one-act operas composed by Giacomo Puccini and performed by the Metropolitan Opera on December 14, 1918. The operas that comprise the collection are cited including "Il Tabarro," "Suor Angelica" and Gianni Schicchi." It provides a background on the plot of each opera.

The article features opera singer Teresa Berganza. Berganza was only twenty-two when she first bewitched an opera audience, as Dorabella in Così Fan Tutte at the 1957 Aix-en-Provence Festival. Berganza included many French and German songs in her recitals, but she recorded very few of them. Now a devoted mother and grandmother, Berganza still gives an occasional recital in Europe, as well as frequent master classes.

The article focuses on a number of vocal performances from the opera La Forza del Destino. The opera may have been a beck number as the twentieth century began but in the decades that followed a series of glorious vocal performances showed Verdi's tragedy in best possible light. The major arias and duets of Leonora, Don Alvaro and Don Carlo were well-known to several celebrated singers of the period. German-based singers who left valuable recorded mementos from the opera are mentioned.

The article presents an overview of Charles François Gounod's opera "Roméo and Juliette." The production premiered at Théâtre-Lyrique in Paris, France on April 27, 1867. The opera is being compared with "Faust," which opened at the Metropolitan Opera House in New York City in 1883. The opera had 108 performances between 1967 and 1998.

Looks at the approaches used by several conductors on the opera "Pelléas et Mélisande," by Claude Debussy. Roger Désormière; Pierre Monteux; Ernest Ansermet; Désiré-Emile Inghelbrecht; Herbert von Karajan.

Reviews the opera "Moses und Aron," written by Arnold Schoenberg.

Focuses on the role of Princess Eboli in the opera 'Don Carlo.' Difficulties and challenges experienced by the performers; Description of some of the scenes of Princess Eboli in the opera; Evaluation of the performance of several opera singers who have performed the role.

Looks at five opera singers that have set themselves apart from the others. Lauren Flanigan; David Daniels; Lorraine Hunt; Sanford Sylvan; Dawn Upshaw; Their fall 1997 projects.

Focuses on the shift of American operas toward real-life American icons with the introduction of the so-called CNN school of opera. Emphasis on Malcolm X, Richard Nixon, Marilyn Monroe, the Vietnam War and Patty Hearst; Range of dramas performed at the New York City Opera; Initiative of Philip Glass in promoting CNN opera; Marriage of politics and opera; Success of the operas at 65 to 85 percent.

The article presents a history and critique of the opera, "Cyrano de Bergerac" by composer Franco Alfano featuring Plácido Domingo with the Metropolitan Opera. Critical reception to the Met performance is mixed, with some calling the composer third-rate. The article also discusses some of Alfanos' other works, including "Turandot, "Riserezione," and "La Legenda di Sakùntala."

Presents information on changes made to the music of the theatrical production "Rosina." Performance of soprano singer Adelina Patti; Arias of the play; Singers who portrayed the role of Rosina in the play.

Profiles opera music composers Laurie Anderson, Philip Glass and John Harbison. Career backgrounds; Their goals; Information on their works.

Reviews the Handel & Haydn Society's performance of Gluck's opera `Orfeo ed Euridice,' choreographed by Mark Morris. Focus on the dance and music in the production, which will be at the Brooklyn Academy of Music in May 1996.

Focuses on the Metropolitan Opera's revival of `Rise and Fall of the City of Mahoganny.' English-language version of the said opera in 1979; Debut of Sheri Greenawald in place of Teresa Stratas; Composer Luciano Berio's idea on the true virtuoso.

Comments on Wolfgang Amadeus Mozart's "The Magic Flute," staged by the Metropolitan Opera and directed by Julie Taymor. Fairly traditional approach to the dramatic action; Features of the set designed by George Tsypin; Use of kite puppets, animal imagery, and masks; Movement and music that reflect the enormous emotional range of Wolfgang Amadeus Mozart's score.

Focuses on various classical opera productions in New York City. Introduction of the exotic opera "La Fanciulla del West"; Production of "The Mines of Sulphur," by Richard Rodney Bennett; Revival of "Imeneo," directed by Christopher Alden.

Presents news briefs related to classical music in New York City, as of May 17, 2004. Manhattan School of Music's American premiere of Bohuslav Martinu's opera "Mirandolina"; Return of Dvorak's "Rusalka" to the Metropolitan's repertory; Cellist Yo-Yo Ma's concert with the Amsterdam Baroque Orchestra.

Describes two Metropolitan Opera productions in New York, New York, "Salome" starring Karita Mattila, Allan Glassman, Albert Dohmen, and Larissa Diadkova, and "Tosca" starring Luciano Pavarotti, Samuel Ramey, Carol Vaness. Mattila's voice that is blessed with cool and crystalline tones; Portrayal of Salome with a sense of restraint and delicacy; Pavarotti's final performance of the character Cavaradossi.

Reports developments related to classical music as of February 2004 in New York City. Release of the music recording "Romance of the Violin," by Joshua Bell; Recital presented by violinist Frank Huang in Alice Tully Hall; Production of the opera "The Bizarre Deception."

Focuses on the Metropolitan Opera's production of Fromental Halevy's opera "La Juive" in New York City. Comments on the reinterpretation of the French opera; Notable performances.

Features the late American soprano Eleanor Steber. Attributes of Steber as a singer; Problems faced by Steber in her personal and professional life; Highlights of her opera career.

Reviews the classical music "La Traviata," in "Violetta" performed by René Fleming at the Metropolitan Opera.

Reports on the classical music scene in New York City. Opening concerts of Judy and Arthur Zankel Hall; City Opera's revival of Handel's Ancina.

Features the opera 'The Legend of the Invisible City of Kitezh & the Maiden Fevronia,' directed by Dmitry Cherniakov. Theme and plot; Characters; Schedule of performances at the Lincoln Center in New York City.

Highlights the performance of the Kirov Opera of St. Petersburg's Mariinsky Theatre held at the Metropolitan Opera House in New York City in line with the Lincoln Center Festival. Description of the libretto; Cast performances; Kirov Opera's production of Verdi's 'Macbeth.'

Reviews the piano performance of Daniel Barenboim and the opera 'Les Boreades,' by composer Jean-Phillipe Rameau.

Reviews the operas 'Antony and Cleopatra,' by Samuel Barber and 'Parsifal,' conducted by Valery Gergiev.

Reviews the operas 'Three Tales,' by Steve Reich and Beryl Korot, 'Bach Concertos,' by András Schiff and Orpheus at Avery Fisher Hall and 'Les Pêcheurs de Perles,' by Bizet and conducted by Eve Queler at Carnegie Hall.

Reviews the several operas. 'Galileo, Galilei,' presented by the Brooklyn Academy of Music; 'Salome,' presented by the City Opera; 'Andrea Chénier,' presented by the Metropolitan Opera.

Reviews several operas and related musical events performed in New York as of August 2002. 'The Silver River,' by Bright Sheng; 'The Night Banquet,' by Guo Wenjing; 'The Road of Friendship: Ravenna/New York,' conducted by Ricardo Muti.

Reviews several operas in New York City. 'Porgy and Bess,' composed by George and Ira Gershwin and conducted by John DeMain; 'Don Giovanni,' composed by Mozart and conducted by George Manahan; 'Parade,' composed by Satie; 'Les Mamelles de Tir é sias,' composed by Poulenc.

Reviews the recital by tenor Robert White at the Metropolitan Museum of Art and the opera 'Die Meistersinger von N uuml rnberg,' conducted by James Levine and produced by Metropolitan Opera in New York City in December 2001.

Presents information on two operas and a book on classical music. `Manon,' performed by the Massenet opera; `The New Grove Dictionary of Music and Musicians,' second edition; `Le Roi Arthus,' performed by Chausson.

Reviews the opera `Doktor Faust,' by Ferrucio Busoni.

Reviews the opera `The Love for Three Oranges,' by Sergey Prokofiev, at the New York City Opera and conducted by George Manahan.

Highlights two musical performances in New York City as of October 30, 2000. `Fidelio,' by the Metropolitan Opera; Concerts of Jose van Dam at Alice Tully Hall.

Reviews the opera `La Boheme.'

Reviews the opera `Ring.'

Reviews the opera `The Great Gatsby,' by John Harbison.

Reviews the opera `Tristan und Isolde,' by Wagner and performed by the Metropolitan Opera.

Reviews the opera `Mefistofele.'

Reviews the opera `The Peony Pavillion,' at the Lincoln Center Festival in New York, New York.

Reviews the opera `Intermezzo,' presented by the City Opera in New York City.

Reviews two opera productions in New York City for the week of March 22, 1999. `Lizzie Borden,' by Jack Beeson; `Khovanshchina,' by Modest Petrovich Mussorgsky.

Reviews the opera `Moses and Aaron,' directed by Arnold Schoenberg.

Presents information on the performance of Luciano Pavarotti during the celebration of his thirtieth year at the MetroPolitan Opera in 1998 and other news on music industry. Presentation of excerpts from three of Pavarotti's signature roles; Details on the launching of the project `Introduction to the Classics,' by Carnegie Hall.

Reviews the Metropolitan Opera's production of `Otello' and Brooklyn Academy of Music Opera's `Don Carlos'. Performances of Placido Domingo, Sergei Lieferkus and Carol Vaness in `Otello'; Stage direction and musical score for `Otello'; Claes Fellbom's direction of `Don Carlos'; Incompetence of the cast of `Don Carlos'.