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Joseph Wechsberg — musician and lifelong opera addict, claqueur, listener and critic — takes the reader on a journey through centuries of operatic history, from Dafne, performed during the 1590s, generally thought to be the first opera, to productions at La Scala, the Metropolitan or Vienna’s Staatsoper. He explains why, of the 42,000 operas said to have been written, only a few hundred survive. These classics are discussed, with analyses of their thematic components and musical qualities and biographical vignettes of their composers, and performers.
“Mr. Wechsberg has written this book very much with the inexperienced opera-goer in mind... a readable and enjoyable summary of all that the novice to the opera house should know about. Within his survey appears a short account of operatic history and material on all the people concerned with opera: composers and librettists, singers, players, managers, conductors, producers, audiences, claques and critics.” — M.F.R., Music & Letters
“Even the informed reader can learn from Wechsberg how to integrate his material and achieve a degree of perspective when viewing the enormous historical landscape that provides the background for the evolution of [the opera].” — Elaine Brody, Notes
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Joseph Wechsberg (1907-1983) was born to Jewish parents in Ostrava, Moravia, a part of the Austro-Hungarian Empire. His grandfather had been a prosperous banker, but the family assets were lost in World War I. Wechsberg attended Prague University Law School, Vienna’s State Academy of Music, and the Sorbonne. A lawyer for a short while, he worked as a musician on ocean liners and played the violin in Paris nightclubs. In Prague, he became a reporter for the Prager Tagblatt. In 1938 he was a lieutenant in the Czechoslovak army commanding a machine gun company on the Polish frontier and was sent with his wife to the United States to discuss the Sudeten crisis. Both requested asylum after World War II broke out. In 1939, Wechsberg knew only a few hundred words in English, but decided he would someday write for The New Yorker. In 1943, he was drafted into the US Army and sent to Europe as a technical sergeant in psychological warfare. His account of getting back to Ostrava was the first of over one hundred pieces for The New Yorker over three decades — profiles of Artur Rubinstein, Isaac Stern, George Szell, of merchant bankers and of great French restaurateurs, and letters from Berlin, Karlsbad, Bonn, Vienna, Trieste, Budapest, Belgrade, Ankara, Bucharest, Warsaw, Athens, and Baghdad. He also contributed hundreds of articles to magazines such as Gourmet, Esquire, Playboy,
