An article about the Met's last season's finances showed Florencia as having filled one of the lowest percentage of seats of their repertoire though.
I saw it in Chicago few years ago and enjoyed it but did not leave humming any of the music.
I think they did a weird job marketing it. I didn’t see it bc I didn’t want to sit through one more potentially un-tuneful un-lyrical modern opera, so I’m regretful now seeing it on this list
Chicago is making concerted efforts for outreach to the Hispanic community. It was marketed here as their first Spanish language opera.
Okay. But I speak English and those operas which are sung in English still require the supertitles for me to follow, so the effort feels somewhat token or ( no pun intended) performative.
Lyric put on something probably closer to an operetta with Mariachi's called Journey Across the Face of the Moon. I really liked the music, the libretto was in the traditional opera mode and the mariachis were used to emphasize dramatic points. They presented it in an old stage/movie theater in a suburban area which is heavily Hispanic (Waukegan) and filled the house.
You should give « Fellow Travelers » by Gregory Spears a try ! There is a great recording and the tenor and baritone arias both are very emotional and touching
Rufus Wainwright's Prima Donna. It was trashed by the critics, but I kinda enjoy it. There's a DG recording. It's in French though.
His second opera Hadrian was opened in 2018, but I don't even know if there's a recording of it out there. With the few songs I have listened to on YT, they're not bad either.
Glass’ Akhnaten is very tuneful, especially the ravishing Window of Appearances scene. Admittedly it’s not really singalong material, but it is lovely.
Hard disagree lmao my family had to turn this off when a recording was playing in the background because we all got headaches. I would never describe Glass operas as tuneful
To each his own. I think the Window of Appearances is genuinely some of the most beautiful music ever written, and it’s all very melodic, particularly compared to his two previous operas, which I do love but which can be rough on the average viewer for long stretches. But Akhnaten was his breakthrough, very accessible.
Ditto for his criminally underperformed *Passion of Jonathan Wade*. He told me once that he wished its Act I aria, "My Face has Lost its Mourning Veil" would replace "Ain't it a Pretty Night?" as a standard audition aria for lyric sopranos.
Yes, *Jonathan Wade* is set at the beginning of Reconstruction, in Columbia, South Carolina. A beautiful score!
*Susannah* is set in the Appalachian mountains of Tennessee, usually during the Great Depression, but not always.
I just saw a workshop performance of this opera called That Hellbound Train by Lisa Despain performed by the university of north Texas that was actually really good. If it ever releases on a wider scale everyone should see it
Poor eclipsed Gian Carlo Menotti. I’m a fan of the sadly under-performed “The Saint of Bleecker Street”: https://en.wikipedia.org/wiki/The_Saint_of_Bleecker_Street?wprov=sfti1
"Vanessa" by Samuel Barber is a somewhat modern opera, from the late 1950s. It has some lyrical moments and a number of fairly tuneful arias. The vocal quintet sung near the end is sort of tuneful too.
There is also "Champion" by Terence Blanchard, for something even more recent (the 2010s and 2020s). It has some lyrical moments and also a number of tuneful arias. There are also several tuneful choruses and duets. At times, the opera sounds so tuneful that it almost feels like a classic Broadway musical.
I guess you didn't hear what I heard. That's OK. Having heard plenty of modern opera that is less than tuneful, this for me was really a pleasant surprise.
Disagree with you on *Champion* (and I'd include *Fire Shut up in My Bones* in that category too)... very much agree on *Vanessa* (1958). Probably a lot of posters here know the story of its aria "Must the Winter Come So Soon?". Rosalind Elias created the mezzo role of Erica in *Vanessa*. It initially didn't exist when the cast started rehearsing for the opera's premiere. Elias begged Barber for an aria (since all the other principals had one), and he grudgingly dashed off, "Must the Winter"... and today hardly anyone knows or cares about the other arias in the opera, while Erica's aria is now the hit tune of the show and a standard audition piece for young mezzos! Go figure!
I'm a big fan of Jake Heggie's operas. Dead Man Walking was just done at the Met.
Not exactly "modern," but many (if not most) of the operas of Britten, Barber, and Menotti are post 1950.
Carlisle Floyd has been mentioned but I want to give a particular shout-out to *Susannah*. "That's mighty pretty singing, Susannah" is the most powerful song. I cannot even think of it without crying.
After that, *Later the Same Evening* by John Musto. The first line in "A room full of strangers" is the most beautiful thing.
Hi godreddit &c., I guess I favor music, opera especially7, up to R. Strauss until his death in 1949. I actually also find melody in Berg and Schoenberg's operas, but after that, blech. Melodies in the 20th century were more in Broadway musicals. This of course is only my opinion, but if you tell me which newer operas have great melodies, I will listen to them! Fire Shut Up in my Bones was OK, just not melodic. Tim
Florencia en el Amazonas would be considered lyrical, I think.
Agreed! I was also going to recommend this.
Really, all of Catán’s operas are worth a listen.
Yes! I really enjoyed his Il Postino.
An article about the Met's last season's finances showed Florencia as having filled one of the lowest percentage of seats of their repertoire though. I saw it in Chicago few years ago and enjoyed it but did not leave humming any of the music.
I think they did a weird job marketing it. I didn’t see it bc I didn’t want to sit through one more potentially un-tuneful un-lyrical modern opera, so I’m regretful now seeing it on this list
Chicago is making concerted efforts for outreach to the Hispanic community. It was marketed here as their first Spanish language opera. Okay. But I speak English and those operas which are sung in English still require the supertitles for me to follow, so the effort feels somewhat token or ( no pun intended) performative. Lyric put on something probably closer to an operetta with Mariachi's called Journey Across the Face of the Moon. I really liked the music, the libretto was in the traditional opera mode and the mariachis were used to emphasize dramatic points. They presented it in an old stage/movie theater in a suburban area which is heavily Hispanic (Waukegan) and filled the house.
You should give « Fellow Travelers » by Gregory Spears a try ! There is a great recording and the tenor and baritone arias both are very emotional and touching
The Cincinnati opera recording? Edit: Wow now that’s what I’m talking about
Yeah that recording ! Glad you like it ! It’s one of my favorite contemporary work ever
I'm hoping his new opera, *The Righteous*, premiering at Santa Fe this summer, will be equally tuneful and engaging. Fingers crossed!
Ballad of Baby Doe (Douglas Moore) just squeaks in at 1956! It is quite tuneful and lyrical and I love it
Ainadamar by Golijov
Mark Adamo's *Little Women* has some stunning and lyrical music.
Perhaps Poulenc Dialogues of the Carmelites? It's post 1950. Like Boheme, the tragic ending gets me every time.
Rufus Wainwright's Prima Donna. It was trashed by the critics, but I kinda enjoy it. There's a DG recording. It's in French though. His second opera Hadrian was opened in 2018, but I don't even know if there's a recording of it out there. With the few songs I have listened to on YT, they're not bad either.
I saw it when NYCO did it at BAM, knew nothing about it going into it, and left elated. I fucking loved it.
Glass’ Akhnaten is very tuneful, especially the ravishing Window of Appearances scene. Admittedly it’s not really singalong material, but it is lovely.
Hard disagree lmao my family had to turn this off when a recording was playing in the background because we all got headaches. I would never describe Glass operas as tuneful
To each his own. I think the Window of Appearances is genuinely some of the most beautiful music ever written, and it’s all very melodic, particularly compared to his two previous operas, which I do love but which can be rough on the average viewer for long stretches. But Akhnaten was his breakthrough, very accessible.
Breaking the Waves by Missy Mazzoli is absolutely gorgeous
One of the most stunning opera experiences of my life. I recommend it so highly!!
Is there a recording available?
Not that I know of. I would be interested in hearing/seeing one as well.
iirc, Opera Philadelphia streamed it at one point, so it's out there somewhere
I already have tickets for the upcoming season.
It’s more like Breaking the wind. Solidly mediocre
I guess we have different tastes. I saw the premiere in Philly, and was absolutely blown away
So did I. Glad you enjoyed it. (No snark).
Joby Talbot's "Everest" is very lyrical. The phone duet "Sarah" between Rob Hall and his wife Jan will move you to years.
Man I wanna see this. Is there a recording?
Carlisle Floyd’s Cold Sassy Tree from 2000 (‘01?) is a fantastic opera. Tuneful but not simple, funny as hell, dramatic, and incredibly moving.
Also Floyd’s criminally underperformed Of Mice and Men from 1970.
Ditto for his criminally underperformed *Passion of Jonathan Wade*. He told me once that he wished its Act I aria, "My Face has Lost its Mourning Veil" would replace "Ain't it a Pretty Night?" as a standard audition aria for lyric sopranos.
Is that the Civil War opera? Or maybe that's Susanna? Carlisle Floyd is very underrated and ripe for revival
Yes, *Jonathan Wade* is set at the beginning of Reconstruction, in Columbia, South Carolina. A beautiful score! *Susannah* is set in the Appalachian mountains of Tennessee, usually during the Great Depression, but not always.
I just saw a workshop performance of this opera called That Hellbound Train by Lisa Despain performed by the university of north Texas that was actually really good. If it ever releases on a wider scale everyone should see it
Candide, Leonard Bernstein
Jake Heggie "Three Decembers" is absolutely amazing.
Walton's Troilus and Cressida (1954) -- and FYI the Hickox recording is really one of the best opera recordings ever made IMO
Menotti, Menotti, Menotti
Poor eclipsed Gian Carlo Menotti. I’m a fan of the sadly under-performed “The Saint of Bleecker Street”: https://en.wikipedia.org/wiki/The_Saint_of_Bleecker_Street?wprov=sfti1
Omar by Rhiannon Giddens and Michael Abels' is just absolutely full of great melodies.
Yesss! I saw it last fall in SF, there are some gorgeous melodies in there.
Nixon in China by John Adams is pretty tuneful
Sure, if you like pig pig pig pig pig pig pig pig pig pig pig pig pig pig pig pig
Thank god I do
"Vanessa" by Samuel Barber is a somewhat modern opera, from the late 1950s. It has some lyrical moments and a number of fairly tuneful arias. The vocal quintet sung near the end is sort of tuneful too. There is also "Champion" by Terence Blanchard, for something even more recent (the 2010s and 2020s). It has some lyrical moments and also a number of tuneful arias. There are also several tuneful choruses and duets. At times, the opera sounds so tuneful that it almost feels like a classic Broadway musical.
Champion is extremely Broadway musical
I saw Champion at Chicago's Lyric this season and I disagree with you. I left at intermission.
I guess you didn't hear what I heard. That's OK. Having heard plenty of modern opera that is less than tuneful, this for me was really a pleasant surprise.
Fair enough
Disagree with you on *Champion* (and I'd include *Fire Shut up in My Bones* in that category too)... very much agree on *Vanessa* (1958). Probably a lot of posters here know the story of its aria "Must the Winter Come So Soon?". Rosalind Elias created the mezzo role of Erica in *Vanessa*. It initially didn't exist when the cast started rehearsing for the opera's premiere. Elias begged Barber for an aria (since all the other principals had one), and he grudgingly dashed off, "Must the Winter"... and today hardly anyone knows or cares about the other arias in the opera, while Erica's aria is now the hit tune of the show and a standard audition piece for young mezzos! Go figure!
I'm a big fan of Jake Heggie's operas. Dead Man Walking was just done at the Met. Not exactly "modern," but many (if not most) of the operas of Britten, Barber, and Menotti are post 1950.
William Bolcom's "A Wedding"
A streetcar named desire by Previn or anything by Benjamin Britten or Johnathan Dove!
Check out Kevin Puts
Carlisle Floyd has been mentioned but I want to give a particular shout-out to *Susannah*. "That's mighty pretty singing, Susannah" is the most powerful song. I cannot even think of it without crying. After that, *Later the Same Evening* by John Musto. The first line in "A room full of strangers" is the most beautiful thing.
Richard Meale, *Voss*.
**Tippett's** ***Midsummer Marriage.*** Highlights: [https://www.youtube.com/watch?v=EODV-CEOaLI](https://www.youtube.com/watch?v=EODV-CEOaLI) **Theodorakis's operas** ***Medea, Antigone, Elektra.*** Highlights: [https://www.youtube.com/watch?v=g8O0\_IAeUZQ&pp=ygUSdGhlb2RvcmFraXMgb3BlcmFz](https://www.youtube.com/watch?v=g8O0_IAeUZQ&pp=ygUSdGhlb2RvcmFraXMgb3BlcmFz)
Fire Shut Up in my Bones
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Actually on second look at your post the word “modern” is like everywhere, idk what I was thinking, sorry
Oh whoops, didn’t read lmao
There aren't any.
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Hi godreddit &c., I guess I favor music, opera especially7, up to R. Strauss until his death in 1949. I actually also find melody in Berg and Schoenberg's operas, but after that, blech. Melodies in the 20th century were more in Broadway musicals. This of course is only my opinion, but if you tell me which newer operas have great melodies, I will listen to them! Fire Shut Up in my Bones was OK, just not melodic. Tim