A rock opera is a work of rock music that presents a storyline told over multiple parts, songs or sections in the manner of opera. A rock opera differs from a conventional rock album, which usually includes songs that are not unified by a common theme or narrative. More recent developments include metal opera and rap opera (sometimes also called hip-hopera).^[1] A rock opera tells a coherent story, and may involve songs performed as if sung by separate characters in a drama, as in classical opera.

A rock opera may or may not be presented in a staged performance. In recorded form it can be similar to a concept album (of which it is a subset), though the latter may simply set a mood or maintain a theme.

1960s[link]

Origin of the term[link]

The July 4, 1966 edition of RPM Magazine (published in Toronto) notes that "Bruce Cockburn and Mr [William] Hawkins are working on a Rock Opera, operating on the premise that to write you need only 'something to say'." The Cockburn / Hawkins rock opera seems not to have been completed, though some songs from the project may be among the Cockburn and Hawkins compositions that appeared on 3's a Crowd's 1968 album, Christopher's Movie Matinee.

Alternatively, the term rock opera may have originated at an informal gathering of Pete Townshend, guitarist for The Who, and some friends at some point that same year (i.e., 1966). Townshend is said to have played a comedy tape to his friends called Gratis Amatis, and one of his friends is said to have made the comment that the odd song was a rock opera (Kit Lambert, the Who's co-manager and producer, is then said to have exclaimed "Now there's an idea!"). Later that year, The Who released their first attempt at rock opera, the nine-minute six-part track "A Quick One, While He's Away" from their album A Quick One.

Then an Alley, also known as The Beat Opera, was conceived and staged by Tito Schipa, Jr, composer and director, son of the tenor Tito Schipa, at the Piper Club in Rome, Italy, in May 1967. While Then an Alley, an adaptation of 18 Bob Dylan songs made to fit into a scenic background, made a moderate splash in its country of origin, it went completely unnoticed elsewhere in the world. Schipa Jr. later went on to write and stage the work Orfeo 9 at the Sistina Theater in Rome. It became the first ever staged original Italian rock opera when it debuted in January 1970. Orfeo 9 became a double album and a film under the musical direction of future Academy Award winner Bill Conti.

Early examples[link]

In October 1967 the British group Nirvana (not to be confused with the later American band of the same name) released The Story of Simon Simopath, what might be the first entire album by a rock band to comprise a single story. In November 1967 the Montreal group Influence traveled to New York to record what they called a 'mini-opera', "Mad Birds Of Prey", and other songs for their only album. In August 1968, The Family Tree released Miss Butters, the birth-to-death story of a schoolteacher. The Pretty Things released S.F. Sorrow, in December 1968, which similarly told the story of protagonist Sebastian F. Sorrow's life from the cradle to the grave and from joy to misery.^[2]

In April 1969 Pete Townshend and The Who released Tommy, the first of The Who's two full-scale rock opera and the first musical work explicitly billed as a rock opera. [In some older publications it is called Tommy (1914–1984).] The album was largely composed by Townshend, with two tracks contributed by bassist John Entwistle and one attributed to drummer Keith Moon, although actually written by Townshend.^[3] Tommy remains one of the most famous rock opera, with concert, film, ballet, and theatrical productions mounted over the course of four decades. The Who would later release another rock opera, Quadrophenia (1973), also made into a film and a stage musical.

In October 1969, The Kinks released Arthur (Or the Decline and Fall of the British Empire) their own attempt at a rock opera, released just after Tommy, with great commercial and critical success. It deals with a British man, Arthur, who moves to Australia. In the first half of the 1970s the Kinks released a series of rock opera: Preservation: Act 1 (1973), Preservation: Act 2 (1974), Soap Opera (1975) and Schoolboys in Disgrace (1976).^[4] All these albums were followed by a series of stage productions, in which the band members, and additional personnel, acted as musical and theatre performers.

1970s[link]

Townshend's Tommy influenced many, including composer Andrew Lloyd Webber who, with lyricist Tim Rice, composed Jesus Christ Superstar which was first recorded and released as a concept album in 1970. The money made from album sales was used to fund the subsequent stage production in late 1971, which had been Lloyd Webber and Rice's original vision. Jesus Christ Superstar was explicitly billed as a "rock opera" and though it first appeared in recorded form, it became far more famous as a Broadway musical, leading it to be called a "rock musical", blurring the distinction between the two terms. The last collaboration of Rice and Lloyd Webber was Evita, which is supposedly considered a rock opera, along with Broadway musical styled songs. The show (like Jesus Christ Superstar) is told entirely in song and, at first, producers^[who?] thought that it would be a flop on the Broadway stage. However, it was nominated for five Tony Awards, including "Best Musical".

In 1972, David Bowie released his rock opera The Rise and Fall of Ziggy Stardust and the Spiders from Mars, the story of a rock star who is told by aliens to write music in the years preceding the end of the world. The next year, The Who released their second full rock opera Quadrophenia. It is about a mid-1960s teen living with a personality disorder. Also in 1973, Lou Reed released Berlin, a tragic rock opera about a doomed couple, which addresses themes of drug use, depression and suicide. In 1974, Genesis released the rock opera The Lamb Lies Down on Broadway, a surreal story about a young man searching for his missing brother.

In 1978, composer and record producer Jeff Wayne released a musical version of H. G. Wells's Victorian apocalyptic science fiction novel The War of the Worlds, in which a number of high profile singers and musicians featured such as David Essex, who worked with Wayne as a producer on his solo career, Moody Blues singer Justin Hayward, Thin Lizzy vocalist/bassist Phil Lynott, and Julie Covington who had previously sung in Evita. The plot was narrated throughout by an unnamed journalist protagonist played by Richard Burton.

In 1979, Pink Floyd's rock opera The Wall, written primarily by Roger Waters, was released. The Wall has been staged as an elaborate theatre performance by Pink Floyd in 1980 and 1981, by Waters in 1990 in Berlin, and in 2010 and 2011 by Waters as a worldwide solo tour. It is one of the highest rated and most well known rock operas. The plot was also used for the feature film Pink Floyd The Wall, and Waters is currently adapting the story for a Broadway production. The Wall is one of the best selling rock operas to date.

1979 also saw the release of Frank Zappa's Joe's Garage, a three act rock opera about the life of a young musician named Joe, set in a dystopian future where music was made illegal, inspired in part by the Iranian Revolution, which outlawed public musical expression. The album also takes jabs at Scientology.

Post-1970s[link]

Weezer frontman Rivers Cuomo had planned to produce an album called Songs From The Black Hole, which was to be a rock opera about a group of people pursuing an adventure in outer space to rescue an unidentified person or object. After the project was then abandoned in 1995, the band replaced it with their album, Pinkerton. Most of the demo recordings are available, legally or as bootlegs, though four remain unreleased. In 1995 David Bowie made the rock opera 1. Outside, a groundbreaking album for Bowie's 1990s career.^{[citation needed]} In 1996, John Miner staged the rock opera Heavens Cafe at the Flamingo Theater in Las Vegas, and again in Los Angeles in 2004. That same year, Marilyn Manson, released Antichrist Superstar and subsequently created a reverse trilogy with Mechanical Animals in 1998 and Holy Wood (In the Shadow of the Valley of Death) in 2000.

Some heavy metal bands have released albums inspired by rock opera, often in a progressive metal framework. In some cases they have overlapped considerably with the format of metal concept albums. Queensrÿche's fourth album Operation: Mindcrime expanded the genre from their previous three rock opera by bridging rock opera with real opera and a stage production complete with the story playing on jumbotrons in live versions and DVD releases. Albums by Opeth (My Arms, Your Hearse), W.A.S.P. (The Crimson Idol, The Neon God: Part 1 - The Rise, The Neon God, Pt. 2: The Demise), Savatage (The Wake of Magellan), Dream Theater (Scenes From a Memory), Ayreon (The Final Experiment, Into the Electric Castle, The Human Equation, 01011001), Kamelot (Epica, The Black Halo), Blind Guardian, Dimmu Borgir, Pain of Salvation, Protest the Hero (Kezia) and Epidemia are a few examples of metal opera albums. The Italian power metal band Rhapsody of Fire (formerly "Rhapsody") released several complementary albums that each continued a single mega-"DragonRock" opera. King Diamond has almost exclusively released metal opera albums, with only two albums containing stand alone tracks (though even these albums have several related tracks each).

The composer Andy DiGelsomina calls his Lyraka project "Wagnerian Opera Metal", due to the influence of Richard Wagner's opera Der Ring Des Nibelungen. The project's first release, Lyraka Volume 1, received much critical acclaim, with Martin Popoff referring to DiGelsomina as a "great songwriter", and the opera itself as "the next Led Zeppelin".^[5] The second volume of the opera is being recorded and is slated for release December 2012.

American progressive metal band Trans-Siberian Orchestra released a series of rock opera, including Christmas Eve and Other Stories (1996), The Christmas Attic (1998), Beethoven's Last Night (2001), The Lost Christmas Eve (2004) and the two-disc Night Castle (2009). As Savatage, the same composers released Streets (1991), Dead Winter Dead (1995) and The Wake of Magellan (1998).

Punk rock opera is a term coined by the punk band Green Day to describe their 2004 album, American Idiot, which was written about a teenage boy who runs away from home to find himself and how his life is before and after. Their 2009 follow-up album, 21st Century Breakdown, continues the rock opera style. Rock opera have been written in other languages as well, such as Gaia II: La Voz Dormida in 2005 by the Spanish rock group Mägo de Oz. On September 22, 2005, rock band Ludo released a rock opera entitled Broken Bride. In 2006, New Jersey rock quintet My Chemical Romance released a rock opera, titled The Black Parade, about a man dying from cancer.^[6] Edguy singer and main songwriter Tobias Sammet has written two separate rock operas under the name Avantasia. The first, Tobias Sammet's Avantasia, was released as two albums. The Metal Opera and The Metal Opera Part II. The Second opera is known as The Scarecrow trilogy and spans three albums The Scarecrow, The Wicked Symphony, and Angel of Babylon. Both feature many well known rock musicians. In 2008, Dutch band Xystus, along with an eighty-piece orchestra and four additional vocalists, released Equilibrio, which involved a stage show in addition to the studio album. The Protomen, an American rock band, released two rock opera, the Protomen, and its prequel, Act II: The Father Of Death in 2005 and 2009, respectively. Most notably, both albums dealt with the fictional video game character, Mega Man.

2009 saw the release of several different rock opera. In March, folk rock group The Decemberists released a rock opera entitled The Hazards of Love, telling the story of a doomed love affair between an innocent young woman and a cursed man.^[7] That same month, Mastodon released its fourth full length album entitled Crack the Skye. Its story tells of a quadriplegic space traveler who can only travel through astral projection. In April, Christian pop punk band FM Static released Dear Diary, which tells a story of a high school boy who goes through typical teenage struggles such as love, death, and self-discovery. In May, Green Day released the aforementioned 21st Century Breakdown; it follows two lovers named Christian and Gloria as they struggle with religious beliefs and rebellion in the 21st century. In 2010, the progressive rock band Coheed and Cambria completed their fifth album, Year of the Black Rainbow which is the prequel album to their storyline called the Amory Wars, which arcs through their previous four albums. Also in 2010, American post-hardcore band Alesana released The Emptiness, which is a follows more of a horror-themed narrative. The following year, came about the release of a third album Canadian hardcore punk band Fucked Up. David Comes to Life was released on June 7, 2011.

Volunteer productions have sprung up as well. Founded in 1993, the non-profit Boston Rock Opera presents theatrical stagings of rock opera, narrative song, song cycles and conceptual rock works. In 2009, the Baltimore Rock Opera Society formed out of Baltimore, Maryland. The group has so far put on two rock opera, one in 2009 and the other in 2011. They both have featured original scores.^[8]

References[link]

See also[link]

• List of rock musicals
• Concept album
• True Symphonic Rockestra

The Palais Garnier of the Paris Opéra, one of the world's most famous opera houses.

Opera (English plural: operas; Italian plural: opere) is an art form in which singers and musicians perform a dramatic work combining text (called a libretto) and musical score, usually in a theatrical setting.^[1] Opera incorporates many of the elements of spoken theatre, such as acting, scenery, and costumes and sometimes includes dance. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble.

Opera is part of the Western classical music tradition.^[2] It started in Italy at the end of the 16th century (with Jacopo Peri's lost Dafne, produced in Florence around 1597) and soon spread through the rest of Europe: Schütz in Germany, Lully in France, and Purcell in England all helped to establish their national traditions in the 17th century. In the 18th century, Italian opera continued to dominate most of Europe, except France, attracting foreign composers such as Handel. Opera seria was the most prestigious form of Italian opera, until Gluck reacted against its artificiality with his "reform" operas in the 1760s. Today the most renowned figure of late 18th century opera is Mozart, who began with opera seria but is most famous for his Italian comic operas, especially The Marriage of Figaro, Don Giovanni, and Così fan tutte, as well as The Magic Flute, a landmark in the German tradition.

The first third of the 19th century saw the highpoint of the bel canto style, with Rossini, Donizetti and Bellini all creating works that are still performed today. It also saw the advent of Grand Opera typified by the works of Meyerbeer. The mid-to-late 19th century was a "golden age" of opera, led and dominated by Wagner in Germany and Verdi in Italy. The popularity of opera continued through the verismo era in Italy and contemporary French opera through to Puccini and Strauss in the early 20th century. During the 19th century, parallel operatic traditions emerged in central and eastern Europe, particularly in Russia and Bohemia. The 20th century saw many experiments with modern styles, such as atonality and serialism (Schoenberg and Berg), Neoclassicism (Stravinsky), and Minimalism (Philip Glass and John Adams). With the rise of recording technology, singers such as Enrico Caruso became known to audiences beyond the circle of opera fans. Operas were also performed on (and written for) radio and television.

Operatic terminology[link]

The words of an opera are known as the libretto (literally "little book"). Some composers, notably Richard Wagner, have written their own libretti; others have worked in close collaboration with their librettists, e.g. Mozart with Lorenzo Da Ponte. Traditional opera, often referred to as "number opera", consists of two modes of singing: recitative, the plot-driving passages sung in a style designed to imitate and emphasize the inflections of speech,^[3] and aria (an "air" or formal song) in which the characters express their emotions in a more structured melodic style. Duets, trios and other ensembles often occur, and choruses are used to comment on the action. In some forms of opera, such as Singspiel, opéra comique, operetta, and semi-opera, the recitative is mostly replaced by spoken dialogue. Melodic or semi-melodic passages occurring in the midst of, or instead of, recitative, are also referred to as arioso. During the Baroque and Classical periods, recitative could appear in two basic forms: secco (dry) recitative, accompanied only by continuo, which was usually a harpsichord and a cello; or accompagnato (also known as strumentato) in which the orchestra provided accompaniment. By the 19th century, accompagnato had gained the upper hand, the orchestra played a much bigger role, and Richard Wagner revolutionised opera by abolishing almost all distinction between aria and recitative in his quest for what he termed "endless melody". Subsequent composers have tended to follow Wagner's example, though some, such as Stravinsky in his The Rake's Progress have bucked the trend. The terminology of the various kinds of operatic voices is described in detail below.^[4]

History[link]

Origins[link]

Claudio Monteverdi

The word opera means "work" in Italian (it is the plural of Latin opus meaning "work" or "labour") suggesting that it combines the arts of solo and choral singing, declamation, acting and dancing in a staged spectacle. Dafne by Jacopo Peri was the earliest composition considered opera, as understood today. It was written around 1597, largely under the inspiration of an elite circle of literate Florentine humanists who gathered as the "Camerata de' Bardi". Significantly, Dafne was an attempt to revive the classical Greek drama, part of the wider revival of antiquity characteristic of the Renaissance. The members of the Camerata considered that the "chorus" parts of Greek dramas were originally sung, and possibly even the entire text of all roles; opera was thus conceived as a way of "restoring" this situation. Dafne is unfortunately lost. A later work by Peri, Euridice, dating from 1600, is the first opera score to have survived to the present day. The honour of being the first opera still to be regularly performed, however, goes to Claudio Monteverdi's L'Orfeo, composed for the court of Mantua in 1607.^[5] The Mantua court of the Gonzagas, employers of Monteverdi, played a significant role in the origin of opera employing not only court singers of the concerto delle donne (till 1598), but also one of the first actual "opera singers"; Madama Europa.^[6]

Italian opera[link]

The Baroque era[link]

George Frideric Handel, 1733

Private baroque theatre in Český Krumlov

Teatro Argentina (Panini, 1747, Musée du Louvre)

Opera did not remain confined to court audiences for long. In 1637, the idea of a "season" (Carnival) of publicly attended operas supported by ticket sales emerged in Venice. Monteverdi had moved to the city from Mantua and composed his last operas, Il ritorno d'Ulisse in patria and L'incoronazione di Poppea, for the Venetian theatre in the 1640s. His most important follower Francesco Cavalli helped spread opera throughout Italy. In these early Baroque operas, broad comedy was blended with tragic elements in a mix that jarred some educated sensibilities, sparking the first of opera's many reform movements, sponsored by Venice's Arcadian Academy which came to be associated with the poet Metastasio, whose libretti helped crystallize the genre of opera seria, which became the leading form of Italian opera until the end of the 18th century. Once the Metastasian ideal had been firmly established, comedy in Baroque-era opera was reserved for what came to be called opera buffa.

Before such elements were forced out of opera seria, many libretti had featured a separately unfolding comic plot as sort of an "opera-within-an-opera." One reason for this was an attempt to attract members of the growing merchant class, newly wealthy, but still less cultured than the nobility, to the public opera houses. These separate plots were almost immediately resurrected in a separately developing tradition that partly derived from the commedia dell'arte, a long-flourishing improvisatory stage tradition of Italy. Just as intermedi had once been performed in-between the acts of stage plays, operas in the new comic genre of "intermezzi", which developed largely in Naples in the 1710s and '20s, were initially staged during the intermissions of opera seria. They became so popular, however, that they were soon being offered as separate productions.

Opera seria was elevated in tone and highly stylised in form, usually consisting of secco recitative interspersed with long da capo arias. These afforded great opportunity for virtuosic singing and during the golden age of opera seria the singer really became the star. The role of the hero was usually written for the castrato voice; castrati such as Farinelli and Senesino, as well as female sopranos such as Faustina Bordoni, became in great demand throughout Europe as opera seria ruled the stage in every country except France. Indeed, Farinelli was the most famous singer of the 18th century. Italian opera set the Baroque standard. Italian libretti were the norm, even when a German composer like Handel found himself writing for London audiences. Italian libretti remained dominant in the classical period as well, for example in the operas of Mozart, who wrote in Vienna near the century's close. Leading Italian-born composers of opera seria include Alessandro Scarlatti, Vivaldi and Porpora.^[7]

Reform: Gluck, the attack on the Metastasian ideal, and Mozart[link]

Mozart K. 527 Overture to Don Giovanni (1787), one of Mozart's most well-known pieces. (6:49 minutes)

Illustration for the score of the original Vienna version of Orfeo ed Euridice (published in Paris, 1764)

Opera seria had its weaknesses and critics. The taste for embellishment on behalf of the superbly trained singers, and the use of spectacle as a replacement for dramatic purity and unity drew attacks. Francesco Algarotti's Essay on the Opera (1754) proved to be an inspiration for Christoph Willibald Gluck's reforms. He advocated that opera seria had to return to basics and that all the various elements—music (both instrumental and vocal), ballet, and staging—must be subservient to the overriding drama. Several composers of the period, including Niccolò Jommelli and Tommaso Traetta, attempted to put these ideals into practice. The first to succeed however, was Gluck. Gluck strove to achieve a "beautiful simplicity". This is evident in his first reform opera, Orfeo ed Euridice, where his non-virtuosic vocal melodies are supported by simple harmonies and a richer orchestra presence throughout.

Gluck's reforms have had resonance throughout operatic history. Weber, Mozart and Wagner, in particular, were influenced by his ideals. Mozart, in many ways Gluck's successor, combined a superb sense of drama, harmony, melody, and counterpoint to write a series of comedies, notably Così fan tutte, The Marriage of Figaro, and Don Giovanni (in collaboration with Lorenzo Da Ponte) which remain among the most-loved, popular and well-known operas today. But Mozart's contribution to opera seria was more mixed; by his time it was dying away, and in spite of such fine works as Idomeneo and La clemenza di Tito, he would not succeed in bringing the art form back to life again.^[8]

Bel canto, Verdi and verismo[link]

Giuseppe Verdi, by Giovanni Boldini, 1886 (National Gallery of Modern Art, Rome)

La donna è mobile Enrico Caruso sings "La donna è mobile", from Giuseppe Verdi's Rigoletto (1908) No Pagliaccio non son Aria from Ruggiero Leoncavallo's Pagliacci. Performed by Enrico Caruso

The bel canto opera movement flourished in the early 19th century and is exemplified by the operas of Rossini, Bellini, Donizetti, Pacini, Mercadante and many others. Literally "beautiful singing", bel canto opera derives from the Italian stylistic singing school of the same name. Bel canto lines are typically florid and intricate, requiring supreme agility and pitch control.

Following the bel canto era, a more direct, forceful style was rapidly popularized by Giuseppe Verdi, beginning with his biblical opera Nabucco. Verdi's operas resonated with the growing spirit of Italian nationalism in the post-Napoleonic era, and he quickly became an icon of the patriotic movement (although his own politics were perhaps not quite so radical). In the early 1850s, Verdi produced his three most popular operas: Rigoletto, Il trovatore and La traviata. But he continued to develop his style, composing perhaps the greatest French Grand Opera, Don Carlos, and ending his career with two Shakespeare-inspired works, Otello and Falstaff, which reveal how far Italian opera had grown in sophistication since the early 19th century.

After Verdi, the sentimental "realistic" melodrama of verismo appeared in Italy. This was a style introduced by Pietro Mascagni's Cavalleria rusticana and Ruggiero Leoncavallo's Pagliacci that came virtually to dominate the world's opera stages with such popular works as Giacomo Puccini's La bohème, Tosca, and Madama Butterfly. Later Italian composers, such as Berio and Nono, have experimented with modernism.^[9]

German-language opera[link]

Illustration inspired by Wagner's music drama Das Rheingold

Richard Wagner in 1871

The first German opera was Dafne, composed by Heinrich Schütz in 1627, but the music score has not survived. Italian opera held a great sway over German-speaking countries until the late 18th century. Nevertheless, native forms developed too. In 1644 Sigmund Staden produced the first Singspiel, a popular form of German-language opera in which singing alternates with spoken dialogue. In the late 17th century and early 18th century, the Theater am Gänsemarkt in Hamburg presented German operas by Keiser, Telemann and Handel. Yet many of the major German composers of the time, including Handel himself, as well as Graun, Hasse and later Gluck, chose to write most of their operas in foreign languages, especially Italian.

Mozart's Singspiele, Die Entführung aus dem Serail (1782) and Die Zauberflöte (1791) were an important breakthrough in achieving international recognition for German opera. The tradition was developed in the 19th century by Beethoven with his Fidelio, inspired by the climate of the French Revolution. Carl Maria von Weber established German Romantic opera in opposition to the dominance of Italian bel canto. His Der Freischütz (1821) shows his genius for creating a supernatural atmosphere. Other opera composers of the time include Marschner, Schubert, Schumann and Lortzing, but the most significant figure was undoubtedly Wagner.

Wagner was one of the most revolutionary and controversial composers in musical history. Starting under the influence of Weber and Meyerbeer, he gradually evolved a new concept of opera as a Gesamtkunstwerk (a "complete work of art"), a fusion of music, poetry and painting. In his mature music dramas, Tristan und Isolde, Die Meistersinger von Nürnberg, Der Ring des Nibelungen and Parsifal, he abolished the distinction between aria and recitative in favour of a seamless flow of "endless melody". He greatly increased the role and power of the orchestra, creating scores with a complex web of leitmotivs, recurring themes often associated with the characters and concepts of the drama; and he was prepared to violate accepted musical conventions, such as tonality, in his quest for greater expressivity. Wagner also brought a new philosophical dimension to opera in his works, which were usually based on stories from Germanic or Arthurian legend. Finally, Wagner built his own opera house at Bayreuth, exclusively dedicated to performing his own works in the style he wanted.

Opera would never be the same after Wagner and for many composers his legacy proved a heavy burden. On the other hand, Richard Strauss accepted Wagnerian ideas but took them in wholly new directions. He first won fame with the scandalous Salome and the dark tragedy Elektra, in which tonality was pushed to the limits. Then Strauss changed tack in his greatest success, Der Rosenkavalier, where Mozart and Viennese waltzes became as important an influence as Wagner. Strauss continued to produce a highly varied body of operatic works, often with libretti by the poet Hugo von Hofmannsthal, right up until Capriccio in 1942. Other composers who made individual contributions to German opera in the early 20th century include Zemlinsky, Korngold, Schreker, Hindemith, Kurt Weill and the Italian-born Ferruccio Busoni. The operatic innovations of Arnold Schoenberg and his successors are discussed in the section on modernism.^[10]

French opera[link]

In rivalry with imported Italian opera productions, a separate French tradition was founded by the Italian Jean-Baptiste Lully at the court of King Louis XIV. Despite his foreign origin, Lully established an Academy of Music and monopolised French opera from 1672. Starting with Cadmus et Hermione, Lully and his librettist Quinault created tragédie en musique, a form in which dance music and choral writing were particularly prominent. Lully's operas also show a concern for expressive recitative which matched the contours of the French language. In the 18th century, Lully's most important successor was Jean-Philippe Rameau, who composed five tragédies en musique as well as numerous works in other genres such as opéra-ballet, all notable for their rich orchestration and harmonic daring. After Rameau's death, the German Gluck was persuaded to produce six operas for the Parisian stage in the 1770s. They show the influence of Rameau, but simplified and with greater focus on the drama. At the same time, by the middle of the 18th century another genre was gaining popularity in France: opéra comique. This was the equivalent of the German singspiel, where arias alternated with spoken dialogue. Notable examples in this style were produced by Monsigny, Philidor and, above all, Grétry. During the Revolutionary period, composers such as Méhul and Cherubini, who were followers of Gluck, brought a new seriousness to the genre, which had never been wholly "comic" in any case. Another phenomenon of this period was the 'propaganda opera' celebrating revolutionary successes, e.g.Gossec's Le triomphe de la République (1793).

By the 1820s, Gluckian influence in France had given way to a taste for Italian bel canto, especially after the arrival of Rossini in Paris. Rossini's Guillaume Tell helped found the new genre of Grand Opera, a form whose most famous exponent was another foreigner, Giacomo Meyerbeer. Meyerbeer's works, such as Les Huguenots emphasised virtuoso singing and extraordinary stage effects. Lighter opéra comique also enjoyed tremendous success in the hands of Boïeldieu, Auber, Hérold and Adolphe Adam. In this climate, the operas of the French-born composer Hector Berlioz struggled to gain a hearing. Berlioz's epic masterpiece Les Troyens, the culmination of the Gluckian tradition, was not given a full performance for almost a hundred years.

Carmen: Chanson du toréador Pasquale Amato's 1911 rendition of the Toréador's song from Georges Bizet's Carmen (1875).

In the second half of the 19th century, Jacques Offenbach created operetta with witty and cynical works such as Orphée aux enfers, as well as the opera Les Contes d'Hoffmann; Charles Gounod scored a massive success with Faust; and Bizet composed Carmen, which, once audiences learned to accept its blend of Romanticism and realism, became the most popular of all opéra comiques. Massenet, Saint-Saëns and Delibes all composed works which are still part of the standard repertory. At the same time, the influence of Richard Wagner was felt as a challenge to the French tradition. Many French critics angrily rejected Wagner's music dramas while many French composers closely imitated them with variable success. Perhaps the most interesting response came from Claude Debussy. As in Wagner's works, the orchestra plays a leading role in Debussy's unique opera Pelléas et Mélisande (1902) and there are no real arias, only recitative. But the drama is understated, enigmatic and completely unWagnerian.

Other notable 20th century names include Ravel, Dukas, Roussel and Milhaud. Francis Poulenc is one of the very few post-war composers of any nationality whose operas (which include Dialogues des Carmélites) have gained a foothold in the international repertory. Olivier Messiaen's lengthy sacred drama Saint François d'Assise (1983) has also attracted widespread attention.^[11]

English-language opera[link]

Henry Purcell

Stay, Prince and hear A scene from Purcell's Dido and Æneas. The witches' messenger, in the form of Mercury himself, attempts to convince Æneas to leave Carthage.

In England, opera's antecedent was the 17th century jig. This was an afterpiece which came at the end of a play. It was frequently libellous and scandalous and consisted in the main of dialogue set to music arranged from popular tunes. In this respect, jigs anticipate the ballad operas of the 18th century. At the same time, the French masque was gaining a firm hold at the English Court, with even more lavish splendour and highly realistic scenery than had been seen before. Inigo Jones became the quintessential designer of these productions, and this style was to dominate the English stage for three centuries. These masques contained songs and dances. In Ben Jonson's Lovers Made Men (1617), "the whole masque was sung after the Italian manner, stilo recitativo".^[12] The approach of the English Commonwealth closed theatres and halted any developments that may have led to the establishment of English opera. However, in 1656, the dramatist Sir William Davenant produced The Siege of Rhodes. Since his theatre was not licensed to produce drama, he asked several of the leading composers (Lawes, Cooke, Locke, Coleman and Hudson) to set sections of it to music. This success was followed by The Cruelty of the Spaniards in Peru (1658) and The History of Sir Francis Drake (1659). These pieces were encouraged by Oliver Cromwell because they were critical of Spain. With the English Restoration, foreign (especially French) musicians were welcomed back. In 1673, Thomas Shadwell's Psyche, patterned on the 1671 'comédie-ballet' of the same name produced by Molière and Jean-Baptiste Lully. William Davenant produced The Tempest in the same year, which was the first musical adaption of a Shakespeare play (composed by Locke and Johnson).^[12] About 1683, John Blow composed Venus and Adonis, often thought of as the first true English-language opera.

Blow's immediate successor was the better known Henry Purcell. Despite the success of his masterwork Dido and Aeneas (1689), in which the action is furthered by the use of Italian-style recitative, much of Purcell's best work was not involved in the composing of typical opera, but instead he usually worked within the constraints of the semi-opera format, where isolated scenes and masques are contained within the structure of a spoken play, such as Shakespeare in Purcell's The Fairy-Queen (1692) and Beaumont and Fletcher in The Prophetess (1690) and Bonduca (1696). The main characters of the play tend not to be involved in the musical scenes, which means that Purcell was rarely able to develop his characters through song. Despite these hindrances, his aim (and that of his collaborator John Dryden) was to establish serious opera in England, but these hopes ended with Purcell's early death at the age of 36.

Thomas Arne

Following Purcell, the popularity of opera in England dwindled for several decades. A revived interest in opera occurred in the 1730s which is largely attributed to Thomas Arne, both for his own compositions and for alerting Handel to the commercial possibilities of large-scale works in English. Arne was the first English composer to experiment with Italian-style all-sung comic opera, with his greatest success being Thomas and Sally in 1760. His opera Artaxerxes (1762) was the first attempt to set a full-blown opera seria in English and was a huge success, holding the stage until the 1830s. Although Arne imitated many elements of Italian opera, he was perhaps the only English composer at that time who was able to move beyond the Italian influences and create his own unique and distinctly English voice. His modernized ballad opera, Love in a Village (1762), began a vogue for pastiche opera that lasted well into the 19th century. Charles Burney wrote that Arne introduced "a light, airy, original, and pleasing melody, wholly different from that of Purcell or Handel, whom all English composers had either pillaged or imitated".

The Mikado (Lithograph)

Besides Arne, the other dominating force in English opera at this time was George Frideric Handel, whose opera serias filled the London operatic stages for decades, and influenced most home-grown composers, like John Frederick Lampe, who wrote using Italian models. This situation continued throughout the 18th and 19th centuries, including in the work of Michael William Balfe, and the operas of the great Italian composers, as well as those of Mozart, Beethoven and Meyerbeer, continued to dominate the musical stage in England.

The only exceptions were ballad operas, such as John Gay's The Beggar's Opera (1728), musical burlesques, European operettas, and late Victorian era light operas, notably the Savoy Operas of W. S. Gilbert and Arthur Sullivan, all of which types of musical entertainments frequently spoofed operatic conventions. Sullivan wrote only one grand opera, Ivanhoe (following the efforts of a number of young English composers beginning about 1876),^[12] but he claimed that even his light operas constituted part of a school of "English" opera, intended to supplant the French operettas (usually performed in bad translations) that had dominated the London stage from the mid-19th century into the 1870s. London's Daily Telegraph agreed, describing The Yeomen of the Guard as "a genuine English opera, forerunner of many others, let us hope, and possibly significant of an advance towards a national lyric stage."^[13]

In the 20th century, English opera began to assert more independence, with works of Ralph Vaughan Williams and in particular Benjamin Britten, who in a series of works that remain in standard repertory today, revealed an excellent flair for the dramatic and superb musicality. Today composers such as Thomas Adès continue to export English opera abroad.^[14] More recently Sir Harrison Birtwistle has emerged as one of Britain's most significant contemporary composers from his first opera Punch and Judy to his most recent critical success in The Minotaur. In the first decade of the 21st century, the librettist of an early Birtwistle opera, Michael Nyman, has been focusing on composing operas, including Facing Goya, Man and Boy: Dada, and Love Counts.

Also in the 20th century, American composers like Leonard Bernstein, George Gershwin, Gian Carlo Menotti, Douglas Moore, and Carlisle Floyd began to contribute English-language operas infused with touches of popular musical styles. They were followed by composers such as Philip Glass, Mark Adamo, John Corigliano, Robert Moran, John Coolidge Adams, and Jake Heggie.

Russian opera[link]

Feodor Chaliapin as Ivan Susanin in Glinka's A Life for the Tsar

Opera was brought to Russia in the 1730s by the Italian operatic troupes and soon it became an important part of entertainment for the Russian Imperial Court and aristocracy. Many foreign composers such as Baldassare Galuppi, Giovanni Paisiello, Giuseppe Sarti, and Domenico Cimarosa (as well as various others) were invited to Russia to compose new operas, mostly in the Italian language. Simultaneously some domestic musicians like Maksym Berezovsky and Dmitry Bortniansky were sent abroad to learn to write operas. The first opera written in Russian was Tsefal i Prokris by the Italian composer Francesco Araja (1755). The development of Russian-language opera was supported by the Russian composers Vasily Pashkevich, Yevstigney Fomin and Alexey Verstovsky.

However, the real birth of Russian opera came with Mikhail Glinka and his two great operas A Life for the Tsar (1836) and Ruslan and Lyudmila (1842). After him in the 19th century in Russia there were written such operatic masterpieces as Rusalka and The Stone Guest by Alexander Dargomyzhsky, Boris Godunov and Khovanshchina by Modest Mussorgsky, Prince Igor by Alexander Borodin, Eugene Onegin and The Queen of Spades by Pyotr Tchaikovsky, and The Snow Maiden and Sadko by Nikolai Rimsky-Korsakov. These developments mirrored the growth of Russian nationalism across the artistic spectrum, as part of the more general Slavophilism movement.

In the 20th century the traditions of Russian opera were developed by many composers including Sergei Rachmaninoff in his works The Miserly Knight and Francesca da Rimini, Igor Stravinsky in Le Rossignol, Mavra, Oedipus rex, and The Rake's Progress, Sergei Prokofiev in The Gambler, The Love for Three Oranges, The Fiery Angel, Betrothal in a Monastery, and War and Peace; as well as Dmitri Shostakovich in The Nose and Lady Macbeth of the Mtsensk District, Edison Denisov in L'écume des jours, and Alfred Schnittke in Life with an Idiot and Historia von D. Johann Fausten.^[15]

Other national operas[link]

Spain also produced its own distinctive form of opera, known as zarzuela, which had two separate flowerings: one from the mid-17th century through the mid-18th century, and another beginning around 1850. During the late 18th century up until the mid-19th century, Italian opera was immensely popular in Spain, supplanting the native form.

Czech composers also developed a thriving national opera movement of their own in the 19th century, starting with Bedřich Smetana, who wrote eight operas including the internationally popular The Bartered Bride. Antonín Dvořák, most famous for Rusalka, wrote 13 operas; and Leoš Janáček gained international recognition in the 20th century for his innovative works including Jenůfa, The Cunning Little Vixen, and Káťa Kabanová.

The key figure of Hungarian national opera in the 19th century was Ferenc Erkel, whose works mostly dealt with historical themes. Among his most often performed operas are Hunyadi László and Bánk bán. The most famous modern Hungarian opera is Béla Bartók's Duke Bluebeard's Castle.

Stanisław Moniuszko's opera Straszny Dwór (in English The Haunted Manor) (1861-4) represents a nineteenth century peak of Polish national opera.^[16] In the 20th century, other operas created by Polish composers included King Roger by Karol Szymanowski and Ubu Rex by Krzysztof Penderecki.

Early operas from the Caucasus region include Leyli and Majnun (1907) by the Azerbaijani composer Uzeyir Hajibeyov and Absalom and Eteri (1913-1919) by the Georgian Zakaria Paliashvili.

Contemporary, recent, and Modernist trends[link]

Modernism[link]

Perhaps the most obvious stylistic manifestation of modernism in opera is the development of atonality. The move away from traditional tonality in opera had begun with Richard Wagner, and in particular the Tristan chord. Composers such as Richard Strauss, Claude Debussy, Giacomo Puccini^{[citation needed]}, Paul Hindemith and Hans Pfitzner pushed Wagnerian harmony further with a more extreme use of chromaticism and greater use of dissonance.

Arnold Schoenberg in 1917.
Portrait by Egon Schiele.

Operatic modernism truly began in the operas of two Viennese composers, Arnold Schoenberg and his student Alban Berg, both composers and advocates of atonality and its later development (as worked out by Schoenberg), dodecaphony. Schoenberg's early musico-dramatic works, Erwartung (1909, premiered in 1924) and Die glückliche Hand display heavy use of chromatic harmony and dissonance in general. Schoenberg also occasionally used Sprechstimme, which he described as: "The voice rising and falling relative to the indicated intervals, and everything being bound together with the time and rhythm of the music except where a pause is indicated".^{[cite this quote]}

The two operas of Schoenberg's pupil Alban Berg, Wozzeck (1925) and Lulu (incomplete at his death in 1935) share many of the same characteristics as described above, though Berg combined his highly personal interpretation of Schoenberg's twelve-tone technique with melodic passages of a more traditionally tonal nature (quite Mahlerian in character) which perhaps partially explains why his operas have remained in standard repertory, despite their controversial music and plots. Schoenberg's theories have influenced (either directly or indirectly) significant numbers of opera composers ever since, even if they themselves did not compose using his techniques.

Stravinsky in 1921.

Composers thus influenced include the Englishman Benjamin Britten, the German Hans Werner Henze, and the Russian Dmitri Shostakovich. (Philip Glass also makes use of atonality, though his style is generally described as minimalist, usually thought of as another 20th century development.)

However, operatic modernism's use of atonality also sparked a backlash in the form of neoclassicism. An early leader of this movement was Ferruccio Busoni, who in 1913 wrote the libretto for his neoclassical number opera Arlecchino (first performed in 1917).^[17] Also among the vanguard was the Russian Igor Stravinsky. After composing music for the Diaghilev-produced ballets Petrushka (1911) and The Rite of Spring (1913), Stravinsky turned to neoclassicism, a development culminating in his opera-oratorio Oedipus Rex (1927).^[18] Well after his Rimsky-Korsakov-inspired works The Nightingale (1914), and Mavra (1922), Stravinsky continued to ignore serialist technique and eventually wrote a full-fledged 18th century-style diatonic number opera The Rake's Progress (1951). His resistance to serialism (which ended at the death of Schoenberg) proved to be an inspiration for many other composers.^[19]

Other trends[link]

A common trend throughout the 20th century, in both opera and general orchestral repertoire, is the use of smaller orchestras as a cost-cutting measure; the grand Romantic-era orchestras with huge string sections, multiple harps, extra horns, and exotic percussion instruments were no longer feasible. As government and private patronage of the arts decreased throughout the 20th century, new works were often commissioned and performed with smaller budgets, very often resulting in chamber-sized works, and short, one-act operas. Many of Benjamin Britten's operas are scored for as few as 13 instrumentalists; Mark Adamo's two-act realization of Little Women is scored for 18 instrumentalists.

Another feature of late 20th century opera is the emergence of contemporary historical operas, in contrast to the tradition of basing operas on more distant history, the re-telling of contemporary fictional stories or plays, or on myth or legend. The Death of Klinghoffer, Nixon in China and Doctor Atomic by John Adams, Dead Man Walking by Jake Heggie, and Anna Nicole by Mark-Anthony Turnage exemplify the dramatisation on stage of events in recent living memory, where characters portrayed in the opera were alive at the time of the premiere performance.

The Metropolitan Opera in the US reports that the average age of its audience is now 60.^[20] Many opera companies have experienced a similar trend, and opera company websites are replete with attempts to attract a younger audience. This trend is part of the larger trend of greying audiences for classical music since the last decades of the 20th century.^[21] In an effort to attract younger audiences, the Metropolitan Opera offers a student discount on ticket purchases.^[22] Major opera companies have been better able to weather the funding cutbacks, because they can afford to hire star singers which draw substantial audiences.

Smaller companies in the US have a more fragile existence, and they usually depend on a "patchwork quilt" of support from state and local governments, local businesses, and fundraisers. Nevertheless, some smaller companies have found ways of drawing new audiences. Opera Carolina offer discounts and happy hour events to the 21- to 40-year-old demographic.^[23] In addition to radio and television broadcasts of opera performances, which have had some success in gaining new audiences, broadcasts of live performances in HD to movie theatres have shown the potential to reach new audiences. Since 2006, the Met has broadcast live performances to several hundred movie screens all over the world.^[24]

From musicals back towards opera[link]

By the late 1930s, some musicals began to be written with a more operatic structure. These works include complex polyphonic ensembles and reflect musical developments of their times. Porgy and Bess (1935), influenced by jazz styles, and Candide (1956), with its sweeping, lyrical passages and farcical parodies of opera, both opened on Broadway but became accepted as part of the opera repertory. Show Boat, West Side Story, Brigadoon, Sweeney Todd, Evita, The Light in the Piazza, The Phantom of the Opera and others tell dramatic stories through complex music and are now sometimes seen in opera houses ^[25]. The Most Happy Fella (1952) is quasi-operatic and has been revived by the New York City Opera. Some musicals, such as Tommy (1969) and Jesus Christ Superstar (1971), Les Misérables (1980), Rent (1996) and Spring Awakening (2006), employ various operatic conventions, such as through composition, recitative instead of dialogue, and leitmotifs.

Acoustic enhancement in opera[link]

A subtle type of sound electronic reinforcement called acoustic enhancement is used in some modern concert halls and theatres where operas are performed. Although none of the major opera houses "...use traditional, Broadway-style sound reinforcement, in which most if not all singers are equipped with radio microphones mixed to a series of unsightly loudspeakers scattered throughout the theatre", many use a sound reinforcement system for acoustic enhancement, and for subtle boosting of offstage voices, child singers, onstage dialogue, and sound effects (e.g., church bells in Tosca or thunder effects in Wagnerian operas).^[26]

Operatic voices[link]

Operatic vocal technique evolved, in a time before electronic amplification, to allow singers to produce enough volume to be heard over an orchestra, without the instrumentalists having to substantially compromise their volume.

Vocal classifications[link]

Singers and the roles they play are classified by voice type, based on the tessitura, agility, power and timbre of their voices. Male singers can be classified by vocal range as bass, bass-baritone, baritone, tenor and countertenor, and female singers as contralto, mezzo-soprano and soprano. (Men sometimes sing in the "female" vocal ranges, in which case they are termed sopranist or countertenor. The countertenor is commonly encountered in opera, sometimes singing parts written for castrati – men neutered at a young age specifically to give them a higher singing range.) Singers are then further classified by voice type – for instance, a soprano can be described as a lyric soprano, coloratura, soubrette, spinto, or dramatic soprano. Similiarly, mezzo-sopranos can be classified as a lyric mezzo-soprano, coloratura, dramatic, etc. These terms, although not fully describing a singing voice, associate the singer's voice with the roles most suitable to the singer's vocal characteristics. A particular singer's voice may change drastically over his or her lifetime, rarely reaching vocal maturity until the third decade, and sometimes not until middle age. Still, opera singers work towards a healthy, mature sound suitable for their age range and operatic roles.

Historical use of voice parts[link]

The following is only intended as a brief overview. For the main articles, see soprano, mezzo-soprano, alto, tenor, baritone, bass, countertenor and castrato.

The soprano voice has typically been used as the voice of choice for the female protagonist of the opera since the latter half of the 18th century. Earlier, it was common for that part to be sung by any female voice, or even a castrato. The current emphasis on a wide vocal range was primarily an invention of the Classical period. Before that, the vocal virtuosity, not range, was the priority, with soprano parts rarely extending above a high A (Handel, for example, only wrote one role extending to a high C), though the castrato Farinelli was alleged to possess a top D (his lower range was also extraordinary, extending to tenor C). The mezzo-soprano, a term of comparatively recent origin, also has a large repertoire, ranging from the female lead in Purcell's Dido and Aeneas to such heavyweight roles as Brangäne in Wagner's Tristan und Isolde (these are both roles sometimes sung by sopranos; there is quite a lot of movement between these two voice-types). For the true contralto, the range of parts is more limited, which has given rise to the insider joke that contraltos only sing "witches, bitches, and britches" roles. In recent years many of the "trouser roles" from the Baroque era, originally written for women, and those originally sung by castrati, have been reassigned to countertenors.

The tenor voice, from the Classical era onwards, has traditionally been assigned the role of male protagonist. Many of the most challenging tenor roles in the repertory were written during the bel canto era, such as Donizetti's sequence of 9 Cs above middle C during La fille du régiment. With Wagner came an emphasis on vocal heft for his protagonist roles, with this vocal category described as Heldentenor; this heroic voice had its more Italianate counterpart in such roles as Calaf in Puccini's Turandot. Basses have a long history in opera, having been used in opera seria in supporting roles, and sometimes for comic relief (as well as providing a contrast to the preponderance of high voices in this genre). The bass repertoire is wide and varied, stretching from the comedy of Leporello in Don Giovanni to the nobility of Wotan in Wagner's Ring Cycle. In between the bass and the tenor is the baritone, which also varies in weight from say, Guglielmo in Mozart's Così fan tutte to Posa in Verdi's Don Carlos; the actual designation "baritone" was not used until the mid-19th century.

Famous singers[link]

Early performances of opera were too infrequent for singers to make a living exclusively from the style, but with the birth of commercial opera in the mid-17th century, professional performers began to emerge. The role of the male hero was usually entrusted to a castrato, and by the 18th century, when Italian opera was performed throughout Europe, leading castrati who possessed extraordinary vocal virtuosity, such as Senesino and Farinelli, became international stars. The career of the first major female star (or prima donna), Anna Renzi, dates to the mid-17th century. In the 18th century, a number of Italian sopranos gained international renown and often engaged in fierce rivalry, as was the case with Faustina Bordoni and Francesca Cuzzoni, who started a fist fight with one another during a performance of a Handel opera. The French disliked castrati, preferring their male heroes to be sung by a haute-contre (a high tenor), of which Joseph Legros was a leading example.^[27]

Though opera patronage has decreased in the last century in favor of other arts and media (such as musicals, cinema, radio, television and recordings), mass media and the advent of recording have supported the popularity of many famous singers including Maria Callas, Enrico Caruso, Kirsten Flagstad, Mario Del Monaco, Risë Stevens, Alfredo Kraus, Franco Corelli, Montserrat Caballé, Joan Sutherland, Birgit Nilsson, Nellie Melba, Rosa Ponselle, Beniamino Gigli, Jussi Björling, Feodor Chaliapin, and "The Three Tenors" (Luciano Pavarotti, Plácido Domingo, and José Carreras).

Funding of opera[link]

Outside the US, and especially in Europe, most opera houses receive public subsidies from taxpayers.^[28]

For example, in Milan, Italy, 60% of La Scala's annual budget of €115 million is from sales and private donations, with the remaining 40% coming from public funds.^[29] In 2005, La Scala received 25% of Italy's total state subsidy of €464 million for the performing arts.^[30]

Cinema and internet[link]

Major opera companies have begun presenting their performances in local cinemas throughout the United States and many other countries. The Metropolitan Opera began a series of live high-definition video transmissions to cinemas around the world in 2006.^[31] In 2007, Met performances were shown in over 424 theaters in 350 U.S. cities. La bohème went out to 671 screens worldwide. San Francisco Opera began prerecorded video transmissions in March 2008. As of June 2008, approximately 125 theaters in 117 U.S. cities carry the showings. The HD video opera transmissions are presented via the same HD digital cinema projectors used for major Hollywood films.^[32] European opera houses and festivals including the Royal Opera in London, La Scala in Milan, the Salzburg Festival, La Fenice in Venice, and the Maggio Musicale in Florence have also transmitted their productions to theaters in cities around the world since 2006, including 90 cities in the U.S.^[33][34]

The emergence of the Internet is also affecting the way in which audiences consume opera. In a first for the genre, in 2009 the British Glyndebourne Festival Opera company offered an online digital video download of its complete 2007 production of Wagner’s Tristan und Isolde.^[35]

See also[link]

• Opera portal

References[link]

Notes

Main sources

• Apel, Willi, ed. (1969). Harvard Dictionary of Music, Second Edition. Cambridge, Massachusetts: The Belknap Press of Harvard University Press. SBN 674375017.

• Cooke, Mervyn (2005). The Cambridge Companion to Twentieth-Century Opera. Cambridge: Cambridge University Press. ISBN 0-521-78009-8. See also Google Books partial preview. Accessed 3 October 2009.

• Silke Leopold, "The Idea of National Opera, c. 1800", United and Diversity in European Culture c. 1800, ed. Tim Blanning and Hagen Schulze (New York: Oxford University Press, 2006), 19–34.
• The New Grove Dictionary of Opera, edited by Stanley Sadie (1992), 5,448 pages, is the best, and by far the largest, general reference in the English language. ISBN 0-333-73432-7 and ISBN 1-56159-228-5
• The Viking Opera Guide, edited by Amanda Holden (1994), 1,328 pages, ISBN 0-670-81292-7
• The Oxford Illustrated History of Opera, ed. Roger Parker (1994)
• The Oxford Dictionary of Opera, by John Warrack and Ewan West (1992), 782 pages, ISBN 0-19-869164-5
• Opera, the Rough Guide, by Matthew Boyden et al. (1997), 672 pages, ISBN 1-85828-138-5
• Opera: A Concise History, by Leslie Orrey and Rodney Milnes, World of Art, Thames & Hudson

Other sources

• DiGaetani, John Louis: An Invitation to the Opera, Anchor Books, 1986/91. ISBN 0-385-26339-2.
• MacMurray, Jessica M. and Allison Brewster Franzetti: The Book of 101 Opera Librettos: Complete Original Language Texts with English Translations, Black Dog & Leventhal Publishers, 1996. ISBN 978-1-884822-79-7
• Simon, Henry W.: A Treasury of Grand Opera, Simon and Schuster, New York, 1946.

External links[link]

Find more about Opera on Wikipedia's sister projects:
	Definitions and translations from Wiktionary
	Images and media from Commons
	Learning resources from Wikiversity
	News stories from Wikinews
	Quotations from Wikiquote
	Source texts from Wikisource
	Textbooks from Wikibooks

• Operabase – Comprehensive opera performances database
• StageAgent – synopses & character descriptions for most major operas
• What's it about? – Opera plot summaries
• Vocabulaire de l'Opéra (French)
• OperaGlass, a resource at Stanford University
• HistoricOpera – historic operatic images
• "America’s Opera Boom" By Jonathan Leaf, The American, July/August 2007 Issue
• Opera~Opera article archives
• "A History of Opera". Theatre and Performance. Victoria and Albert Museum. http://www.vam.ac.uk/page/o/opera/. Retrieved 15 February 2011. 

vep:Oper

Sarah Brightman
Sarah Brightman performing at the World Athletics Championships 2007 in Osaka
Background information
Born	(1960-08-14) 14 August 1960 (age 51)
Origin	Berkhamsted, Hertfordshire, England
Genres	Classical crossover, operatic pop, symphonic rock, symphonic metal, pop, new age, rock, dance, electronica, techno, folk, traditional
Occupations	Singer, actress, songwriter, dancer
Instruments	Vocals, piano, keyboards
Years active	1976–present
Labels	A&M (1993) East West (1995–2001) Angel/EMI (1997–2007) Manhattan/EMI (2008–present)
Website	www.sarah-brightman.com

Sarah Brightman (born 14 August 1960) is an English classical crossover soprano, actress, songwriter and dancer. She is famous for possessing a vocal range of over 3 octaves.^[1][2] She sings in many languages including English, Spanish, French, Latin, German, Italian, Russian, Hindi, Mandarin Chinese and Japanese.^[3]

Brightman began her career as a member of the dance troupe Hot Gossip and released several disco singles as a solo performer. In 1981, she made her West End musical theatre debut in Cats and met composer Andrew Lloyd Webber, whom she married. She went on to star in several Broadway musicals, including The Phantom of the Opera, where she originated the role of Christine Daaé. The Original London Cast Album of the musical was released in CD format in 1987 and sold over 40 million copies worldwide, making it the biggest-selling cast album of all time.^[4]

After retiring from the stage and divorcing Lloyd Webber, Brightman resumed her music career with former Enigma producer Frank Peterson, this time as a classical crossover artist. She is often credited as the creator of this genre and remains among the most prominent performers, with worldwide sales of more than 30 million records and 2 million DVDs, establishing herself as the world's best-selling soprano of all time.^[5][6][7] Her duet with the Italian tenor Andrea Bocelli, "Time To Say Goodbye", topped charts all over Europe and became the highest and fastest selling single of all time in Germany, where it stayed at the top of the charts for fourteen consecutive weeks and sold over 3 million copies.^[8][9] It subsequently became an international success selling 12 million copies worldwide.^[10] She has now collected over 180 gold and platinum sales awards in 38 different countries.^[11] In 2010 she was named by Billboard the 5th most influential and top-selling classical artist of the 2000s decade in the US.^[12]

Brightman is the first artist to have been invited twice to perform at the Olympic Games, first at the 1992 Barcelona Olympic Games where she sang "Amigos Para Siempre" with the Spanish tenor Jose Carreras with an estimated global audience of a billion people, and sixteen years later in Beijing, this time with Chinese singer Liu Huan, performing the song "You and Me" to an estimated 4 billion people worldwide.^[13] Since 2010, Brightman is Panasonic's global brand ambassador. Together they launched the song "Shall Be Done" at the 2010 Winter Games held in Vancouver, Canada.^[14] Brightman is the element of union in Panasonic's signing of Strategic Partnership Agreement with the UNESCO World Heritage Centre, as she stars the campaign "The World Heritage Special" that is being aired on the National Geographic Channel in 183 countries and areas.^[15]

In early 2012 Brightman was appointed as the UNESCO artist for peace for the period 2012–2014 for her “commitment to humanitarian and charitable causes, her contribution, throughout her artistic career, to the promotion of cultural dialogue and the exchanges among cultures, and her dedication to the ideals and aims of the Organization”.^[16]

In 2012 In conjunction with Virgin Galactic, The Brightman STEM Scholarship program (science, technology, engineering, and mathematics) was launched. It will help young women in the US pursue STEM education across their four year college careers.^[17]

Apart from music, Brightman has begun a film career, making her debut in Repo! The Genetic Opera (2008), a rock opera-musical film directed by Darren Lynn Bousman, and in autumn 2011 and early 2012 Stephen Evans' "First Night", starring opposite Richard E. Grant.^[18][19] In addition, she formed her own production company, Instinct Films, where her first film is in pre-production.^[20] Brightman is the world's richest female classical performer with a fortune of £30m (about US$49m).^[21]

Family and early life[link]

Brightman is the oldest of six children of businessman Grenville Geoffrey Brightman (1934^[22]–1992) and Paula Brightman. She was raised Berkhamsted, Hertfordshire, England. At age three, she began taking dance and piano classes and went on to perform in local festivals and competitions.^[23] At age 11, she successfully auditioned for the Arts Education School in Tring Park, a school specialising in performing arts.^[24] At 13, in 1973 Brightman made her theatrical debut in the musical I and Albert at the Piccadilly Theatre, London, playing one of Queen Victoria's daughters (Vickoria). In 1976 she was in the leading TV dance group Pan's People and was later recruited to lead Arlene Phillips' troupe Hot Gossip in 1977. The group had a disco hit in 1978 with "I Lost My Heart to a Starship Trooper", which sold half a million and reached number six on the UK charts. Brightman, now solo, released more disco singles under her own label, Whisper Records, such as "Not Having That!" and a cover of the song "My Boyfriend's Back".^[25] In 1979, Brightman appeared on the soundtrack of the movie "The World Is Full of Married Men" and sang the song "Madam Hyde".

1981–1989: Stage career[link]

In 1981, Brightman auditioned for the new musical Cats and was cast as Jemima. In rehearsals she met Andrew Lloyd Webber. After a year in Cats, Brightman took over from Bonnie Langford as Kate in The Pirates of Penzance at the Drury Lane Theatre, London, and appeared as Tara Treetops in Masquerade, a musical based on Kit Williams's book of the same title. On that year she left to play the title role in Charles Strouse's children's opera, Nightingale.^[26]

Enticed by a rave review, Webber went to watch her in the show one evening and was flabbergasted. It seemed inconceivable that he could have missed such vocal talent when she'd been in his show for a year. It would be an awakening that would alter more than just his perception of her. It would alter the course of their careers and lives. The two married in 1984, and Brightman appeared in many of Lloyd Webber's subsequent musicals including Song and Dance and the mass Requiem, the latter written for her.^[26]

Scarcely a year later, Brightman's crystalline recording of Pie Jesu rocketed up the charts, selling 25,000 copies^[26] on the first day of release and peaking at number 3, no mean feat for a song in Latin. With classical music permeating the Lloyd Webber household (Brightman was in heavy operatic training at the time), Lloyd Webber was moved to write the Requiem Mass as a tribute to young victims of war. Its Manhattan premiere, starring Placido Domingo and Brightman, was filmed by both PBS and the BBC for later broadcast. The LP eventually became UK's top selling classical album of the year and earned Brightman a Grammy nomination as Best New Classical Artist."^[27]

Brightman starred as Christine Daaé in Lloyd Webber's adaptation of The Phantom of the Opera. The role of Christine was written specifically for her.^[27] Lloyd Webber refused to open The Phantom of the Opera on Broadway unless Brightman played Christine. Initially, the American Actors' Equity Association balked, because of their policy that any non-American performer must be an international star. Lloyd Webber had to cast an American in a leading role in his next West End musical before Equity would allow Brightman to appear (a promise he kept in casting Aspects of Love). In the end, it was a compromise that more than paid off. "Phantom" chalked up a staggering $17 million in advance sales prior to opening night on 28 January 1988, and generated a public and media frenzy that is unmatched since.^[28] The original cast album was the first in British musical history to enter the music charts at number one. Album sales now exceed forty million worldwide and it is the biggest selling cast album of all time, and has gone six times platinum in the US, twice platinum in the UK, nine times platinum in Germany, four times platinum in the Netherlands, 21 times platinum in Korea and 17 times platinum in Taiwan.^[29]

After leaving Phantom, she performed in a tour of Lloyd Webber's music throughout England, Canada and the United States, and performed Requiem in the Soviet Union. Studio recordings from this time include the single "Anything But Lonely" from Aspects of Love and two solo albums: the 1988 album The Trees They Grow So High, a compilation of folk songs accompanied by piano, and the 1989 album The Songs That Got Away, a musical theatre compilation of songs cut from shows by composers such as Irving Berlin and Stephen Sondheim, also Brightman sang the song "Make Believe" at the end during the credits of the children's film "Grandpa"; Howard Blake wrote the music and lyrics.^[30]

By 1990, Brightman and Lloyd Webber separated. After their divorce, Brightman played the lead in Lloyd Webber's Aspects in London opposite Michael Praed, before transferring to Broadway.^[31] Her work in Aspects notwithstanding, Brightman steeled herself and set forth to find her own footing. Perhaps the most poignant declaration of independence came in the form of her second solo album from this period, an eclectic but personal collection of folk-rock songs that she had hand-picked. It was a departure from musical theatre and indeed, a departure for Webber himself. More tellingly, the album bore a most prescient title: As I Came of Age.^[26]

1990s: Solo career[link]

After her very successful stage career, Brightman decided to make a fresh start and embark on a solo career. In 1992, Brightman made an appearance with José Carreras at the Barcelona Olympic Games singing the theme song "Amigos Para Siempre" ("Friends forever") to a worldwide audience of 3 billion people. Following her appearance, Brightman travelled to Germany to work with co-producer Frank Peterson of “Enigma” fame The two collaborated on the album “Dive,” released in 1993 a water-themed pop album that featured "Captain Nemo", a cover of a song by the Swedish electronica band Dive.^[32] The album is considered Brightman's first success as a recording solo artist, receiving her first Gold award for exceptional sales in Canada.^[33]

Brightman and Peterson’s second collaboration yielded the pop rock album, Fly (1995). The album catapulted Brightman to fame across Europe, and she unveiled its hit track “A Question of Honor” – a mélange of electronic, rock, classical strings and excerpts from the Alfredo Catalani opera “La Wally”.^[34] The song and the video were introduced at the World Boxing Championship match between Germany's Henry Maske and Graciano Rocchigiani.

	"Question Of Honour" noicon Sample of the Single from Fly
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"Time to Say Goodbye", taken from the album Timeless, released in 1997, was the second song Brightman debuted for Maske, this time at his retirement match. This duet with tenor Andrea Bocelli became an international hit and sold more than 3 million copies in Germany alone,^[35] became Germany's best-selling single, and was successful in numerous other countries; the album eventually sold over 12 million copies worldwide. It is regarded as one of Brightman's and Bocelli's, signature songs.

In March 1998, her own PBS special, Sarah Brightman: In Concert at the Royal Albert Hall, marked the point when she crossed from Billboard's Top Heat seekers chart to the Billboard 200 chart, with Time to Say Goodbye.^[36] The same year, Brightman starred A Gala Christmas in Vienna along side Placido Domingo, Helmut Lottie and Riccardo Cocciante singing traditional Christmas carols.^[37] On 7 April 1998 she was one of the guest stars in Andrew Lloyd Webber's 50th Birthday Celebration singing Hossanaa with Dennis O'Neill, Pie Jesu, Phantom of the Opera with Antonio Banderas, All I Ask of You with Michael Ball and Music of the Night.^[38]

With the success of Timeless, Brightman felt freer to put herself into her next endeavour. Brightman released her next album, Eden in 1998. She hand-selected each song and convinced the Academy Award-winning Italian composer Ennio Morricone to let her set lyrics to one of his film compositions, “Gabriel’s Oboe” from the film “The Mission” resulting in the now legendary “Nella Fantasia”.

The release of Eden also led to a concert tour of the same name, Brightman’s first world tour and a huge success. Eden reached No. 1 on the US Billboard Classical Crossover chart and No. 65 on the Billboard 200 charts and was certified Gold.

2000–2004: Further international success[link]

	"Deliver Me" noicon Sample of the Single from Eden
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Next came the album La Luna. For this album, Brightman chose songs drawing on influences as diverse as pop, vintage jazz, and high opera, in homages to Dvorak, Beethoven and Billie Holliday. La Luna also reached No. 1 on the US Billboard Top Internet Albums and peaked at No. 17, with 900.000 US sales reaching Gold.^[12] In 2000 Brightman’s PBS La Luna concert, she sang There for Me in a duet with an up and coming star, Josh Groban. At the end of 2001, Billboard magazine noted Brightman as the most important classical crossover artist from the UK.^[39]

In 2000, Brightman sold more records than Elton John and the Rolling Stones, becoming America's highest-selling and top touring British artist.^[40]

Brightman ventured for the first time into film acting in 2000 when she was part of the cast of the German film "Zeit der Erkenntnis", based on Rosamunde Pilcher book.^[41]

In 2001, Brightman released Classics, an anthology including highlights from three of Brightman's chart-topping releases along with seven new tracks; this was released worldwide except Europe. In the US the album peaked at No. 66 on the Billboard's 200 charts and promptly went Gold.^[42] It reached No. 2 on Billboard's Classical Crossover charts.

Her 2003 album Harem represented another departure: a Middle Eastern-themed album influenced by dance music. On Harem, Brightman collaborated with artists such as Ofra Haza and Iraqi singer Kazem al-Saher. Nigel Kennedy contributed violin tracks to the songs "Free" and "The War is Over", and Jaz Coleman contributed arrangements.^[27]

The album peaked at No. 29 on the Billboard 200 charts,^[43] No. 1 on the Billboard Classical Crossover chart, No. 1 on the Swedish Album Chart, and yielded a No. 1 dance/club single with the remix of the title track. Some time later, another single from the album (the ballad "Free", cowritten with Sophie B. Hawkins) became a second Top-10 hit on this chart. A year later of the album's release, Harem was referred as a multi-million seller in EMI's annual music sales report.^[44]

The albums Eden, La Luna and Harem were accompanied by live world tours which incorporated the theatricality of her stage origins. In both 2000 and 2001, Brightman was among the top 10 most popular British performers in the US, with concert sales grossing $7.2 million from 34 shows in 2000 and over $5 million from 21 shows in 2001.^[45] In 2004 the Harem tour grossed $60 million and sold 800,000 tickets.^[27]

2006–2008: Diva and Symphony[link]

Sarah Brightman performing during her Symphony World Tour in Auburn Hills.

Brightman released a DVD collection of her music videos on 3 October 2006 under the title of Diva: The Video Collection. The Singles Collection is the accompanying CD, released on the same date. The album marked the first time Brightman has released a greatest hits album in the United States; it reached No. 1 on the Billboard Classical Crossover chart. Her other reflective offerings for Europe were The Very Best of 1990-2000 and Classics: The Best of Sarah Brightman.

During this time, subsequent appearances include the Concert for Diana in July 2007, where she sang "All I Ask of You" from The Phantom of the Opera with Josh Groban. Around 15 million people from across the UK watched Concert for Diana at home, and it was broadcast to over 500 million homes in 140 countries; On 7 July 2007 Brightman performed four songs ("Nessun Dorma", "La Luna", "Nella Fantasia" and "Time to Say Goodbye") and debuted her single "Running" at the 2007 IAAF Championships in Osaka, Japan on 25 August.^[46] She also participated at the 2007 Macy's Thanksgiving Day Parade, where she performed "The Journey Home" on the Jolly Polly Pirate Ship.^[47] She recorded a duet with Anne Murray singing "Snowbird" on Murray's 2007 album Anne Murray Duets: Friends and Legends.^[48]

On May 2007, Brightman was invited along with Lesley Garrett to sing at the Wembley Stadium in London the anthem " Abide With Me before the FA Cup final between Chelsea and Manchester United.^[49]

At a dinner held at The Mansion House, on 10 September 2008, His Royal Highness the Prince of Wales highlighted the urgent need for action to halt tropical deforestation. The Prince invited Brightman to sing at the event they hosted to engage the financial community in the task of finding a solution to the problem of making rainforests worth more alive than dead. The music performed was Nella Fantasia (used in the soundtrack of the movie The Mission) and further declared a Hymn to the rainforests.^[50]

On 29 January 2008, Brightman released her first album in five years: Symphony, influenced by gothic music.^[51] In the United States, it became Brightman's most successful chart entry and also her highest ranked album on Billboard's "Top 200 Albums". It was also a No. 1 album on two other Billboard's charts: "Top Internet Albums" and "Top Classical Crossover Albums". The album moved there 32,033 copies in first week,^[52] according to Nielsen Soundscan. The album was a Multi-Platinum and a top 5 release in China, Taiwan, Canada, Mexico, Japan, and Poland, and a top 20 across Europe.^[53][54]

Featured on the album were artists Andrea Bocelli, Fernando Lima, and KISS vocalist Paul Stanley, who duets with Brightman on "I Will Be with You", the album version of the theme song to the 10th Pocket Monsters motion picture, Dialga VS Palkia VS Darkrai (Pokémon: The Rise of Darkrai).^[55] On 16 January 2008, she also appeared in concert at Vienna’s Stephansdom Cathedral, performing songs from her new album. Special guests who sang duets with Brightman include Italian tenor Alessandro Safina, Argentinean countertenor Fernando Lima, and British singer Chris Thompson.

Sarah Brightman performing in "Live Heart Concert" in China (2007).

She performed two songs, "Pie Jesu" and "There You'll Be", at the United States Memorial Day concert on 25 May 2008 held on the west lawn of the United States Capitol in Washington D.C.. The top-rated show was broadcast live on PBS before a concert audience of 300,000 and millions more at home, as well as to American troops serving around the world on the American Forces Radio and Television Network.^[56][57] Brightman made her feature film debut as Blind Mag in the rock musical film Repo! The Genetic Opera which was released on 7 November 2008.^[58][59][60] Brightman was cast in the film at the last minute after the original actress who was cast for the role was dropped.^[60] On 8 August 2008, Brightman was honoured to sing the Olympic theme song, "You and Me", with Chinese star Liu Huan in both Mandarin and English at the Beijing Olympics opening ceremony. The event appeased the already established supreme popularity and recognition of Brightman in the Asian country. The performance was broadcast to over five billion viewers. In the 26 hours after the performance, "You and Me" was downloaded 5.7 million times.^[61][62]

On 4 November 2008, Brightman released her first holiday album, entitled A Winter Symphony, the album debuted at number No. 38 on the Billboard Top 200 and scored a number six in the Top Holiday Albums, being the first entry for Brightman on this chart.^[63] To accompany Symphony and A Winter Symphony, Brightman embarked on a tour in Autumn 2008; "The Symphony World Tour" featured new and groundbreaking technology, with virtual and holographic stage sets that had never been seen before in any touring concert production.^[64]

2009–2010: Rise in Latin American and Asian markets[link]

Following her performance at the Beijing Olympics, Brightman was appointed as the Shanghai 2010 World Expo Promotion Ambassador in Britain. In anticipation of the Expo, she launched "Shanghai Week in London", which showcases the city's heritage and culture.^[65]

In response to persistent calls for a global release of the Symphony: Live in Vienna concert, EMI Music launched worldwide the PBS special which features Brightman's landmark performance at Vienna’s St. Stephen's Cathedral on 16 January 2008, in both audio and visual formats. The Symphony – Live in Vienna television special debuted on PBS in March 2008 during the network’s spring pledge drive and aired throughout the month. The album broke all-time records of sales in Taiwan and experienced success in certain Latin American markets.^[66]

The music of Brightman was featured in the movie Amarufi: Megami no hôshû (international title: Amalfi: Rewards of the Goddess), which was a special production to mark Fuji Television's 50th anniversary. The first Japanese movie to be shot entirely on location in Italy. In conjunction with the release of the movie Amalfi, Brightman released only in Japan an album titled Amalfi - Sarah Brightman Love Songs which reached Gold status in the aforementioned country.^[67][68]

Brightman performing in the Concert of the Pyramid in Chichen Itza, Mexico.

Autumn 2009 saw Brightman starting a new concert tour called Sarah Brightman In Concert covering Latin America with 13 sold-out performances in Mexico, Venezuela, Colombia, Peru, Chile, Argentina, and Brazil. The last venue of the tour, "The Concert of the Pyramid" featured Brightman performing a concert at the archaeological site of Chichen Itza, an UNESCO World Heritage Site and one of the New Seven Wonders of the World.^[69]

The year closed as Symphony: Live in Vienna was listed as the thirteenth best-selling album of the year in Mexico.^[70] (In 2008 she also had 2 top-selling albums in the country: Symphony and A Winter Symphony in the 29 and 83 spots respectively)^[71]

Given the increasing popularity of Brightman in Asia, the artist toured there in late 2010 with 5 gigs in Tokyo alone, followed by presentations on Kanazawa, Nagoya, Osaka in Japan, Macau in China and Seoul in South Korea. The singer headed to perform in private events in Canada and Ukraine as well as part of the tour.^[72][73][74]

On 3 November 2010, Brightman was invited to sing at the Tōdai-ji Buddhist temple complex located in the city of Nara, Japan. The temple is a listed UNESCO World Heritage Site as "Historic Monuments of Ancient Nara".^[75][76] The concert was recorded and later broadcasted nationwide by TBS network.^[77]

On 27 January 2011 Hunan Broadcasting System, China's second biggest television network after China Central Television (CCTV) invited Brightman to participate in their Spring Festival, analogous celebration to the New Year's celebrations in the Western countries. She sang Scarborough Fair -Brightman's evergreen song in China- and Nessun Dorma.^[78] For the first time it was revealed that Brightman charges an average of US$ 150,000 for interpretation in such events as Chinese media remarked.^[79] When announcing the arrival of Brightman in their country, local press took the opportunity to mention China's appreciation and gratitude for the singer by her donations for the development of that area of China after the Wenchuan earthquake.^[80]

Her popularity continues to rise remarkably in Asia, with high profile appearances and sales. Brightman was South Korea's best-selling international artist of 2010 with her album Diva: The Singles Collection charting the almost the whole year in the No. 1 spot ahead Mariah Carey, Michael Jackson, Eminem, among others. The album was released in 2006, but charted again in both 2009 and 2010 when Brightman toured there with the Symphony World Tour and Sarah Brightman In Concert With Orchestra. Diva was certified Double Platinum in South Korea. Also, her digital single "Nella Fantasia" has sold 2 million copies in the country.^[81]

In Argentina she dominates the charts and holds with her albums the #1,#2,#3,#4,#7,#8 and No. 11 positions on the country's top 20's list of the best-selling classical records of the year.^[82]

While receiving the UNESCO Artist for Peace Award, Brightman announced that she is recording a new studio album set for a late 2012 release and will embark on another World Tour in 2013.

Philanthropy[link]

Since January 2010, Brightman is Panasonic's global Brand Ambassador. Together they launched the song "Shall Be Done" at Panasonic's Olympic Pavilion at Live City Yaletown, the official celebration site of the 2010 Winter Games held in Vancouver, Canada. The lyrics of the song express Panasonic's vision for the next generation as well as Brightman's vision, infusing the spirit of 'ideas for life' of contribution for a sustainable society. The song has been used in a wide range of global promotional activities including stores, advertising, exhibitions and other events.

On February 8, 2012 Brightman accepted the UNESCO nomination to be an “Artist For Peace” Ambassador.^[83] Additionally, she is actively engaged in Panasonic's UNESCO World Heritage Centre endeavors, and stars in their The World Heritage Special campaign.

2010-Present[link]

Back in the United States she appeared on America's Got Talent's on September 2010 finale episode before that season's winner was revealed. Brightman was the celebrity guest duetting with ten year old contestant Jackie Evancho. ^[84]

On October 1 & 2 2011, she made a special appearance during the finale of The Phantom of the Opera at The Albert Hall; a fully staged production performed at the famous London venue - marking 25 years since the musical received its world premiere. Introduced as his "Angel of Music" by Andrew Lloyd Webber, Brightman performed the title song backed by five past, present and future Phantoms. The production front of an audience of 5,500 was broadcast live into cinemas around the globe including in the U.S, around Europe, Canada, Japan and Australia.^[85]

Awards[link]

Sarah Brightman has received over 180 Gold and Platinum sales awards in over 40 different countries around the world including United States, Australia, Japan, UK, China, Mexico, Canada and Germany.^[86]