The Operagoer's Guide: One Hundred Stories and Commentaries.

The Operagoer's Guide: One Hundred Stories and Commentaries, by M. Owen Lee. Amadeus Press (133 S. W. 2nd Ave., Ste. 450, Portland, OR 97204-9743), 2001. 233 pp., $12.95.

Anyone who has tried to explain a convoluted opera plot to another is glaringly aware of difficulties that may arise. There are plot twists, unusual names, exotic locales, conventions of operatic style, historical considerations, operas that exist in different versions and performance traditions that have grown up around certain operas and need explanation. Father M. Owen Lee, in his latest book about opera, navigates this treacherous sea in full sail and with clarity of communication, insight, human warmth and a charming sense of humor. Listeners who tune in to the Saturday broadcasts of the Metropolitan Opera may very well have heard Father Lee's many contributions to the intermission features. His encyclopedic knowledge is shared with friendliness and candor.

Father Lee has chosen 100 operas, selecting them due to their popularity or because of some other special interest to operagoers. As he states in his preface, tastes in opera change over time, and operas go in and out of favor. A book written about opera even ten years ago perhaps might include a different selection of works. His book is designed to aid the operagoer of the twenty-first century, whom, it is expected, will be sitting in an opera house with projected super- or subtitles. Arranged alphabetically by opera title, from Aida to Die Zauberflote, his efficient, artful descriptions waste no words yet communicate fully. Each plot summary is followed by commentary relating the opera to other arts (literature, painting, architecture) and, with a few well-chosen comments, placing the opera in context historically and psychologically, giving the sort of human-interest background that makes a potential listener eager to hear the work. He avoids the temptation to chase rabbits, sticking to the clear, linear unfolding of the plots and characters. He avoids stilted language and does not speak down to the reader.

At the end of each opera entry, Father Lee lists a suggested recording. His recommendations are not always the latest recordings available--several are from the middle of the twentieth century--but are performances he feels capture something particularly true to the opera's spirit. He was careful to include recordings available commercially on compact disc at the time of publication.

The chosen Mozart and Wagner operas are treated particularly well. The manner in which Father Lee compresses the stories of the Ring is truly amazing. Some readers will be surprised to find an entry such as Schoenberg's lesser-known Moses und Aron between such staples as Meistersinger and Nabucco, but the author makes clear his reasons for inclusion. No doubt programming at the Metropolitan Opera this season had some influence. There are only three American operas represented: Four Saints in Three Acts, Porgy and Bess and Susannah. None is from the latter part of the twentieth century; though, again, the author sets forth his criteria for inclusion quite clearly and speaks of each with great appreciation.

A few typographical errors or misspellings appear, such as the listing of the Count's aria from The Marriage of Figaro as "Vedro metr'io suspiro" rather than "Vedro mentr'io sospiro," which raise an eyebrow, but with a few minor exceptions Father Lee traverses the issue of the several sung languages of opera with ease.

The end of the book includes a short glossary of terms to help readers with certain concepts such as bel canto, leitmotif and verismo. Also included is a list of titles in English, because so many operas in this country are spoken of by their English titles rather than by their original language titles. The final section of the book lists the operas by composer as a quick reference, with the birth and death dates of the composers as well as the dates of the operas; though it is not made clear whether the opera dates are listed from their first performances or from dates of completion. In many cases, presumably, it will be the same year.

This book would be enjoyed not only by the general opera enthusiast, but also by all manner of persons whose life is in music and specifically in opera. Father Lee's plot descriptions are breathtaking in their clarity, while concise. Music students, music teachers, seasoned singers, coaches and conductors will have their eyes opened in the most delightful ways by his warmly personal and inspiring commentaries. This book will make you want to run to the opera house, or at least to your shelf of favorite recordings. Reviewed by Alan Smith, Pasadena, California.