This list provides a guide to opera composers, as determined by their presence on a majority of compiled lists of significant opera composers. (See the "Lists Consulted" section for full details.) The composers run from Jacopo Peri, who wrote the first ever opera in late 16th century Italy, to John Adams, one of the leading figures in the contemporary operatic world. The brief accompanying notes offer an explanation as to why each composer has been considered major. Also included is a section about major women opera composers, compiled from the same lists. For an introduction to operatic history, see opera. The organisation of the list is by birthdate.
Francesco Cavalli (1602–1676) Amongst the most important of Monteverdi's successors, Cavalli was a major force in spreading opera throughout Italy and also helped introduce it to France. His Giasone was " the most popular opera of the 17th century".[4]
Jean-Baptiste Lully (1632–1687) In close collaboration with the librettist Philippe Quinault, Lully founded the tradition of tragédie en musique,[5] combining singing, dance and visual spectacle, which would remain the most prestigious French operatic genre for almost a hundred years. Cadmus et Hermione (1673) is often regarded as the first example of French opera.
Jean-Philippe Rameau (1683–1764) Most important French opera composer of the 18th century. Following in the genre established by Lully,[8] he endowed his works with a great richness of invention. Rameau's musical daring provoked great controversy in his day,[8] but he was an important influence on Gluck.
Christoph Willibald Gluck (1714–1787) Was a key figure in the transformation of Baroque into Classical opera, paving the way for Mozart, though his influence stretched much further into the 19th century, with both Berlioz and Wagner acknowledging their debt to him. In his reform operas from Orfeo ed Euridice onwards, he sought to throw off the formal conventions of opera seria and write music of "beautiful simplicity" (his own words).[12]
Joseph Haydn (1732–1809) Haydn wrote nineteen operas including several comic operas and singspiels.[13]
Giovanni Paisiello (1740–1816) Italian composer who wrote the first opera to include Beaumarchais' character Figaro as a main character, as well as writing a substantial number of other operas, some of them in St. Petersburg.
André Grétry (1741–1813) Liège (present day Belgian) composer crucial to the development of Frenchopéra comique, whose simplicity of musical style and sophisticated dramaturgy were immensely popular, as well as linking pre-revolutionary rococo comedy to the later romantic style.
Antonio Salieri (1750–1825) Italian composer who was a major contributor to and shaper of Viennese musical life from 1770 to 1820, he also composed successful operas in Italy and Paris, and won admiration from German operagoers as a composer who, in the words of one contemporary critic, ‘could bind all the power of German music to the sweet Italian style’.[16] His opera Europa riconosciuta was composed for the inauguration of La Scala. Among his other most successful operas were Les Danaïdes, Axur, re d'Ormus (the Italian version of French Tarare) and Falstaff.
Luigi Cherubini (1760–1842) Follower of Gluck, Cherubini's most famous opera is Médée. The title role has proved a challenge to sopranos (including Maria Callas) since its premiere in 1797.[17]
Carl Maria von Weber (1786–1826) Founded German Romantic opera[21] in order to challenge the dominance of Italian bel canto. Master of orchestral colour and atmosphere, Weber was never well served by his librettists, and only one of his works, Der Freischütz, is performed with any frequency. Though he died young, his influence on later German composers, especially Wagner, was immense.
Giacomo Meyerbeer (1791–1864) The archetypal composer of French grand opera, Meyerbeer's huge extravaganzas such as Les Huguenots and Le prophète were immensely popular in their day.[22]
Gioachino Rossini (1792–1868) Links bel canto with grand opera. His immortal Barber of Seville was the only one of his operas that was continuously performed into the 20th century,[23] but his serious operas, such as Semiramide and Ermione, are recognised as masterpieces now that singers with appropriate technique are again available to perform them. Guillaume Tell, his swan-song, has a vast sweep[23] only equalled in the 19th century by the later works of Verdi, Mussorgsky and Wagner.
Gaetano Donizetti (1797–1848) Along with Rossini and Bellini, Donizetti is generally acknowledged as one of the masters of the bel canto style. His masterwork is generally cited as being Lucia di Lammermoor.[25]
Fromental Halévy (1799–1862) Along with Meyerbeer, the best known composer of French grand opera, Halévy's key work is La Juive, a story of religious intolerance set in 15th century Switzerland.[26]
1800–1849
Vincenzo Bellini (1801–1835) On account of such works as Norma and I puritani, Bellini is recognised as one of the leading composers of the bel canto style of opera.[27]
Hector Berlioz (1803–1869) Berlioz's attempts to carve out an operatic career for himself were thwarted by an unimaginative musical establishment.[28] Nevertheless, he managed to produce Benvenuto Cellini, Béatrice et Bénédict and his masterpiece, the epic Les Troyens,.[29] Berlioz's dramatic legend, La damnation de Faust, has also been staged as an opera in recent years.
Charles Gounod (1818–1893) Wrote lyrical operas on literary themes, including Roméo et Juliette and Mireille. His Faust still holds the stage today,[29] in spite of criticisms of its "Victorianism".
Charles Gounod's Faust: Méphistophélès (Marcel Journet) gives Faust (Enrico Caruso) a glimpse of Marguerite, and he signs the contract with the Devil, then leaves with him to experience the world. Recorded in 1910.
Bedřich Smetana (1824–1884) Established Czech national opera with such historical epics as Dalibor.[35] His folk comedy The Bartered Bride has entered the international repertory.
Alexander Borodin (1833–1887) A "weekend composer" who spent 17 years working on a single opera, Prince Igor, which now forms a key part of the Russian repertory.[36]
Georges Bizet (1838–1875) Bizet's masterwork Carmen is a staple of the repertoire of opera houses the world over. At the time of its premiere, the controversial plot scandalised both critics and the public.[39]
Modest Mussorgsky (1839–1881) Mussorgsky completed only one opera, but Boris Godunov proved to be inspiration for generations of Russian composers on account of its uniquely nationalist character.[40]
Emmanuel Chabrier (1841–1894) Had ambitions to write grand operas in the Wagnerian vein, but is now most celebrated for lighter pieces, such as L'étoile and Le roi malgré lui, which were greatly admired by Ravel and Poulenc.[43]
Jules Massenet (1842–1912) Arguably the most representative French opera composer of his era (the Belle Époque), Massenet was a prolific and versatile writer whose works cover a wide variety of themes.[45] His popularity faded somewhat after the First World War, but Werther and Manon still make regular appearances in the opera house.[46]
Nikolai Rimsky-Korsakov (1844–1908) Russian composer who wrote colourful operas on legendary and historical subjects.[47]
1850–1899
Leoš Janáček (1854–1928) Janáček's first mature opera (Jenůfa) blended folksong-like melodies and an emphasis on natural speech-rhythms à la Mussorgsky with a character-driven plot of some intensity;[48] his later works became increasingly terse, with recurrent melodic fragments, lyrical outbursts and unconventional orchestration serving a diverse collection of source-material – just a few bars of these operas can instantly be identified as his.
Gustave Charpentier (1860–1956) French composer famous for a single opera, Louise, set in a working class district of Paris.[51]
Claude Debussy (1862–1918) Like Beethoven, Debussy finished only one opera, but his setting of Maeterlinck's Symbolist play Pelléas et Mélisande is a key work in 20th century music drama.[52] In many ways an "anti-opera", Pelléas contained little of the conventional singing or action audiences at the première had come to expect, but Debussy used his subtle orchestration to create an elusive, dream-like atmosphere, which still has the power to fascinate listeners today.
Richard Strauss (1864–1949) Strauss was one of very few opera composers in the early years of the 20th century to accept and conquer the challenge laid down by the scale and radical nature of Wagner's innovative works.[54] He composed several operas that remain extremely popular today, including Salome, Elektra, and Der Rosenkavalier.[40]
Hans Pfitzner (1869–1949) A follower of Wagner, Pfitzner is best known for the opera Palestrina which explores the debate between tradition and innovation in music.[55]
Arnold Schoenberg (1874–1951) A leading Modernist composer and the deviser of the twelve-tone system, Schoenberg began his operatic career with the Expressionist monodrama Erwartung. His major opera Moses und Aron was left unfinished at his death.[56]
Béla Bartók (1881–1945) Wrote only one opera, Duke Bluebeard's Castle, a key piece in 20th century music theatre and the only Hungarian work with a secure place in the international operatic repertoire.[59]
Alban Berg (1885–1935) Because of their atonal music which uses tonal conventions harkening back to late romanticism[61] and tragic libretti, Berg's masterworks Wozzeck and Lulu have stayed in the repertory and assumed increased popularity after his death.[50]
Sergei Prokofiev (1891–1953) Major modern composer in the Russian tradition,[62] Prokofiev produced operas on a wide variety of subjects, from the comic fairy-tale The Love for Three Oranges, to the dark and occult The Fiery Angel and the epic War and Peace. Like Shostakovich, Prokofiev suffered under the Soviet artistic regime, but his work has recently been championed by conductors such as Valery Gergiev.
Paul Hindemith (1895–1963) German composer who came to prominence in the years following World War I. His key opera Mathis der Maler, dealing with the problems of an artist in a time of crisis, has been seen as an allegory of Hindemith's situation during the Third Reich.[63]
Dmitri Shostakovich (1906–1975) Shostakovich's most famous opera, Lady Macbeth of the Mtsensk District, a violent love story set in provincial Russia, scandalised Soviet authorities. He later produced a revised version, Katerina Ismailova. Nevertheless, the original became one of the most performed operatic works of the 20th century.[67]
Benjamin Britten (1913–1976) One of the handful of British opera composers to reach international acclaim, and one of the extremely few composers of 20th century operas that stayed in the standard repertory after their premieres. These operas include his masterworks Peter Grimes, A Midsummer Night's Dream, and The Turn of the Screw.[70]
John Adams (born 1947) Like Glass, Adams started as a minimalist. His operas dealing with contemporary subjects, Nixon in China and The Death of Klinghoffer, have gained critical acclaim and provoked political controversy.[74]
A number of reasons, including the high cost of production and high status of opera,[75] have been suggested to explain the relatively few women who have been composers of opera, and no woman composer met the criteria for inclusion above. However, some experts in our sample disagreed,[76] and named either or both of the women below as comparable to those already listed:
Francesca Caccini (18 September 1587 – after 1641) Italian composer, singer, lutenist, poet, and music teacher of the early Baroque era. She was also known by the nickname "La Cecchina", given to her by the Florentines and probably a diminutive of "Francesca".[77] She was the daughter of Giulio Caccini. Her only surviving stage work, La liberazione di Ruggiero, is widely considered the oldest opera by a woman composer.
Shafiga Akhundova (21 January 1924 – 26 July 2013) was a prominent Azerbaijani composer, the first professional female author of an opera in the East. She is also The People’s Artist of Azerbaijan.
Professor Tim Carter in Viking Opera Guide (p. 678) writes: "Monteverdi's recitative owes much to Peri... However Orfeo has much broader roots. There are many references to the tradition of the Florentine intermedi: the spectacular stage effects, the mythological subject matter, the allegorical figures, the number and scoring of the instruments and the extended choruses". See also Carter, writing about the intermedi in The Oxford Illustrated History of Opera (p. 4): "rich display and erudite symbolism made the intermedi an ideal projection of princely magnificence".
The Viking Opera Guide (1993) ISBN0-670-81292-7: (Now Holden, Amanda (ed.), The New Penguin Opera Guide, New York: Penguin Putnam, 2001. ISBN0-14-029312-4). Contributions are by noted specialists in their fields.
This list was compiled by consulting ten lists of great opera composers, created by recognized authorities in the field of opera, and selecting all of the composers who appeared on at least six of these (i.e. all composers on a majority of the lists). Judith Weir appears on four of the ten lists consulted, more than any other female composer in the sample. The lists used were:
"The Standard Repertoire of Grand Opera 1607–1969", a list included in Norman Davies's Europe: a History (OUP, 1996; paperback edition Pimlico, 1997) ISBN0-7126-6633-8.
Composers mentioned in the chronology by Mary Ann Smart in The Oxford Illustrated History of Opera (OUP, 1994) ISBN0-19-816282-0.
"A Bird's Eye View of the World's Chief Opera Composers" in The Oxford Companion to Music by Percy Scholes (10th edition revised by John Owen Ward, 1970). ISBN0-19-311306-6.
Composers with recordings included in The Penguin Guide to Opera on Compact Discs ed. Greenfield, March and Layton (1993 edition) ISBN0-14-046957-5.
The composers included in all 10 lists cited are: Berg, Britten, Donizetti, Gluck, Handel, Monteverdi, Mozart, Puccini, Rameau, Rossini, Richard Strauss, Verdi, and Wagner.
The composers included in nine of the lists are: Bellini, Berlioz, Bizet, Glinka, Gounod, Lully, Massenet, Mussorgsky, and Tchaikovsky.
The composers included in eight of the lists are: Adams, Debussy, Glass, Henze, Janáček, Leoncavallo, Menotti, Meyerbeer, Pergolesi, Purcell, Rimsky-Korsakov, Schoenberg, Smetana, Thomas (Ambroise), Tippett, and Weber.
The composers included in seven of the lists are: Auber, Beethoven, Borodin, Cavalli, Cherubini, Cimarosa, Delibes, Hindemith, Mascagni, Offenbach, Prokofiev, Ravel, Saint-Saëns, Shostakovich, and Gustave Charpentier.
The composers included in six of the lists are: Barber, Bartók, Chabrier, Peter Maxwell Davies, Dvořák, Gay and Pepusch, Gershwin, Halévy, Peri, Pfitzner, Scarlatti, Schreker, Spontini, Stravinsky, Walton.
Judith Weir was included in four lists; Dame Ethel Smyth in two.
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