If you ever wanted proof of the old saying "Nothing exceeds like excess", this file should be of interest to you. For true opera buffs, it isn't enough to immerse themselves in opera on stage, screen and recording. The passion governs their tastes in reading as well. A recurring thread on "Opera in Fiction" on Opera-L drew an amazing response from the list members and led to the creation of this file, which is a listing of fictional works in which opera or singing is mentioned. It is interesting to note how many of the offerings are detective/mystery stories - an indication of a sinister mindset perhaps?
The sources are postings on Opera-L and various library catalogs. Entries from Charles H. Parson's An Opera Bibliography (published as volume 17 of the Mellen Opera Reference Index) have also been incorporated into the list.
Edited by: Sandra Alston, Mickie Fitton, Wendy Fuller-Mora, Bob Kosovsky
Gano, John Death At The Opera
(New York: St. Martin's Press, 1996) 199 p.
Gillette, Paul J. Carmela
(New York: Arbor House, 1972) 349 p.
Gluth, Oskar Der verhexte Spitzweg
(Leipzig: L. Staackmann, 1928) 331 p. (Bamberg: Staachmann, 1960) 331 p. (Munchen: L. Staackmann, 1974) 251 p.
--- "Ein heiterer Munchner Roman."
Goetz, Curt Die Tote von Beverly Hills...
(Munchen: Deutscher Taschenbuch Verlag GmbH & Co. KG, 1969) 151 p.
--- A young German girl at her first opera performance conceives an overwhelming passion for the tenor and the two conduct a serious affair, during which he may attempt to educate her. The ending of the affair leads to the events which culminate in the corpse in California. The nature of the erotic, first demonstrated in the immediate response of the girl to the performer, is an aspect of the novel that is important also in opera.
Goldman, Lawrence The Castrato
(New York: John Day, 1973) 264 p.
--- A fictionalized biography of Farinelli. I read the opening chapter, really a prologue, and the next chapter, which was a description of how they did it to him. After I finished feeling sick I refused to read on. My mistake. I DO remember the prologue as rather effective: some forgotten opera being produced in London, the usual opening chorus of woodsy mythological creatures, and then Goldman describes this voice like a soprano trumpet heard first in the wings, sustaining and modulating a single, soaring note as Farinelli himself enters. He sings an impossible aria and is rewarded with the near hysteria of the London audience: women faint, etc. The chiller is at the very end of the chapter: some overenthusiastic patron shouts "Evviva il cotello! Evviva il benedetto cotello!" followed by a description of the sad smile that crosses Farinelli's face as he bows in the direction of the voice. It provides the perfect segue to the chapter describing his ruined childhood.
Gozzano, Umberto Rossini; il romanzo dell'opera
(Torino: G. B. Paravia, 1955) 199 p.
Grey, Mrs. (Elizabeth Caroline)
(Philadelphia, E. Ferrett, 18--) 112 p.
--- The young prima donna: a romance of the opera
Harbaugh, Karen The Vampire Viscount
(Signet, 1995)
--- It's a combination Regency Romance/SciFi. During a performance of the opera, the viscount in question muses on the nature of Don Giovanni and his relationship with women. I was also informed that in the Regency genre the characters attend the opera quite often.
Harris, Macdonald Herma
(New York: Atheneum, 1981) 431 p.
--- An enjoyable saga, some of which is set in the Parisian opera world at the turn of the century. Jacket praise from James McCourt (see below) should be recommendation enough.
Harvey, Andrew Burning Houses
(Boston: Houghton Mifflin, 1986) 214 p.
--- A superb and serious novel with an outrageous and unforgettable main character, Adolphe, who refers to Callas and opera to solve the gay young hero's problems.
Haslinger, Josef:
Opernball (Fischer Taschenbuch, 1997) (Fischer, S, 1995)
--- It is a novel about a terroristic gas attack to the Vienna State Opera during the yearly Opernball. It was a huge success in German-speaking countries both with the public and critics.
Henderson, W. J. The Soul of a Tenor: a Romance
(New York: Henry Holt, 1912) 366 p.
--- Author was distinguished music critic of The Sun and wrote many books on opera, Wagner.
Hesse, Hermann Gertrud
(Munchen: A. Langen, 1910) 301 p.
= Translated into English by Hilde Rosner and published:
(New York: Farrar, Straus and Giroux, 1969) 237 p.
--- A fairly short, poetic, very romantic, philosophical and also tragic in which music and opera in particular plays an essential part. His story is so vivid that I found myself daydreaming about that small German town, Gertrud, the tenor and the musician.
Highsmith, Patricia The Boy Who Followed Ripley
--- There is a little vignette in which the boy in question gives Tom Ripley a Fischer-Dieskau Lieder recording and it is revealed that Tom Ripley is an F-D fan. (I wouldn't take this as a compliment, but F-D does. He's a big Patricia Highsmith fan.)
Hill, John Spencer The last castrato
(St. Martin's Press, 1995) 269 p.
--- This murder-myster centres on the adventures of an woman American doctoral student in Florence who is researching the contribution of the Camerata to early opera. It is appropriately light enough... The author is a professor of English at one of the universities here in the National Capital Region of Canada (the University of Ottawa). My initial impression is that the details regarding the Florence setting have been well researched, although I am still puzzling over the reference to the conductor coaching the French horns during a rehearsal of Orfeo.
Hoffman, Ernst Theodor Amadeus Ritter Gluck: eine Erinnerung aus dem Jahre 1809 (Dortmund: W. Cruwell, 1961) 32 p. --- Fiction.
Holt, Tom Expecting Someone Taller
(London: Orbit, 1987) (New York: St. Martin's Press, 1987) 218 p.
--- Malcolm Fisher accidentally kills Ingolf, last of the giants, and winds up with ring, tarnhelm etc and no idea of their use or history. No opera lover, he resorts to studying the Ring cycle to learn a little of the legends, but meanwhile, Alberich, Wotan and friends are in hot pursuit. Very humorous.
Holt, Tom Flying Dutch
(New York: Ace Books, 1996) 256 p.
The Dutchman is still returning to Great Britain. He could cause a major financial upheavel if he tries to collect his interest.
Huneker, James Painted Veils
(New York: Liveright, 1920) 310 p.
--- A wonderful evocation of artistic life in turn-of-the-century New York City by the noted music critic. Filled with musical and operatic references.
Insterburg, Ingo Das leben des Otto Darmstadt
(Leer: Rautenberg, 1973) 283 p.
Irving, John The Hotel New Hampshire
(New York: Dutton, 1981) 401 p.
--- How do you describe a John Irving novel? Another dysfunctional family, their lives and loves. Part of the book is set in Vienna near the Staatsoper. Opera in general, and Lucia di Lammmermoor in particular are featured.
Jacobson, Anna Nachklange Richard Wagners im Roman
(Heidelberg: C. Winter, 1932) viii, 134 p.
--- Not fiction but a discussion of Richard Wagner in fiction. (see also: Moser, Max)
Janetschek, Ottokar Der Konig und sein Meister
(Wien: Kremayr & Scherian, 1952)
--- Ein Roman um Ludwig II. von Bayern und Richard Wagner.
Janetschek, Ottokar Die Primadonna: ein Mozartroman
(Wien: Kremayr & Scheriau, 1956) 327 p.
Jarvis, Fred G. Murder at the Met
(New York: Coward-McCann, 1971) 237 p.
Joseph, Robert F. The Diva
(New York: Berkley Medallion, 1975) 312 p.
--- An original paperback novel whose cover reads "...the story of that poor but beautiful and talented girl who rose to become the greatest diva on two continents."
Joyce, James Ulysses
(New York: Modern Library, 1934) 767 p.
--- Molly Bloom is an opera singer and the work is full of operatic references.
Kaminsky, Stuart Poor Butterfly
(New York: Mysterious Press, 1990) 179 p.
--- Set in San Francisco in the 40s (?) with (better sit down for this one) Toscanini as a "man with a Secret."
Kane, Carol J Diva
(New York: HarperCollins, 1990) 487 p.
Kay, Susan Phantom
(New York: Delacorte Press, 1991) 458 p.
--- Prequel to Leroux's Phantom of the Opera.
Kay, Terry. Shadow song
(New York: Pocket Books/Simon & Schuster, 1994) 388 p.
--- Offbeat story of Avrum Feldman's lifelong obsession with Amelita Galli-Curci, and his effect on the life of Madison Lee "Bobo" Murphy, with whom he shares his story in the summer of 1955 when Bobo is 17 years old and in love for the first time.
Keating,, H.R.F. Death of a Fat God
(New York: Dutton, 1966) 256 p.
Keil, Doris Parkin The Ploughboy and the nightingale
(Toronto: Copp Clark, 1958) 304p.
--- Fiction about Jenny Lind.
Kingsford, Jane The Soprano: a Musical Story
(Boston: Loring, 1869) 179 p.
Kirkwood .James Good Times/Bad Times
(New York: Ballantine, 1983) 288 p.
--- Not a novel about opera by any means but the passages about being obsessed with the Bjoerling Calaf certainly hit home. The kind of stuff that makes you want to highlight it and write "this is true" in the margins.
Kobbe, Gustav Signora, a child of the opera house
(New York: R. H. Russell, 1902) 200 p. (New York: T. Y. Crowell, 1907) 205 p.
Kraft, Zdenko von Abend in Bayreuth: Roman
(Berlin: Hyperion-Verlag, 1943) 530 p.
Kraft, Zdenko von Wahnfried: ein Richard-Wagner-Roman
(Berlin: Globus, 1921) 353 p. (Leipzig, Zurich: Grethlein, 1922) 353 p.
Kronberg, Max Feuerzauber: ein Lebens-Roman Richard Wagners
(Leipzig: Koehler & Amerlang, 1932) 284 p.
Kronberg, Max Konig und Kunstler: Roman Konig Ludwigs II. und Richard Wagner
(Leipzig: Otto Janke, 1937) 333 p.
Kronberg, Max Der Sieg der Melodie: ein Puccini-Caruso-Roman
(Leipzig: Koehler & Amelang, 1935)
= Translated into Latvian by Tulkojis E. Feldmanis and published as: Pucini un Karuzo dzives romans: melodijas uzvara
(Riga: Gramatu Draugs, 1936)
Kuupsch, Joachim Ein Ende in Dresden: ein Richard-Wagner-Roman
(Berlin: Henschelverlag, 1964) 206 p. (Berlin: Henschelverlag, 1978) 202 p.
Lang, Maria [pseudonym of Dagmar Lange] Camilla vid skiljevagen Stockholm : Norstedt, 1978) 237 p. --- One of a string of detective stories whose hero (Christer Wijk, chief of the Swedish National Criminal Investigation Central, a Swedish parallell to FBI or Scotland Yard) is married to a fictious international opera star named Camilla Martin, a dramatic soprano with successful engagements all over the globe, particularly, it seems, in the 'jugendlich-dramatisches'
fach. Quite a bit of the action takes part in operatic surroundings,
especially in the Royal Swedish Opera House, and the author makes use of quite extensive (and somewhat ostentatious) name-dropping, so that Birgit Nilsson, Margareta Hallin, Göran Gentele, Elisabeth Söderström, Mari-Ann Haggander, Ingvar Wixell, Hakan Hagegard and quite a few lesser stars appear in the wings (but not, to my knowledge, Jussi B.) A recurrent theme is the conflict between the hero's occupation and his wifes international career, which she in the umpteenth book sacrifices on the altar of matrimonial happiness (and after a vocal crisis).
Lange, Fritz Johann Strauss, der Walzerkonig. Ein Roman (Berlin: R. Bong, 1925) 353 p.
Lauferty, Lillian Baritone
(Garden City, NY: Doubleday & Co., 1948) 276 p.
Lehmann, Lotte Orplid, mein Land
(Wien: H. Reichner, 1937) 252 p.
Leon, Donna Death at La Fenice
(New York: HarperCollins Publishers, 1992) 263 p.
--- A mystery novel that has an operatic theme and involves a conductor who seems to be a take-off on Herbert von Karajan.
Leroux, Gaston = Translated into English and published as: Phantom of the Opera = Translated into German by Rudolf Brettschneider and published as: Das phantom der oper
(Munchen: A. Langen, 1912) 459 p.
--- Did we mention the obvious Gaston Leroux 's ' Phantom of the Opera ' which is mostly taking place at the Opera Garnier and dreadful things happen during a performance of Faust.
Levai, Endre & Endre Barat La vie fantastique de Caruso: Roman
(Paris: Les Editions Artistique et Dcoumentaires, 1946) 224 p.
--- Franch "translation" of a spurious "American" edition.
Lewis, William Gala
(New York: Dutton, 1987) 246 p.
New York, Toronto: Paper Jacks, 1989) 246 p. = Translated into Spanish by Isabel de Miguel and published as: Gala
(Barcelona: Ediciones B, 1987) 279 p.
--- The author is the well-known tenor.
Lewitt, Shariann Interface masque
(New York: Tor, 1997) 350 p.
--- Set in Venice (future) in which powerful houses of computer information specialists manage the world's datastream. Powerful choirs using especially chosen opera and choral music sing to increase intelligence and control political situations. One villain in the story is jazz music.
Li, Pi-hua Pa-wang pieh Chi = Translated into English by Andrea Lingenfelter and published as: Farewell to my concubine: a novel by Lilian Lee
(New York: W. Morrow, 1993) 225 p.
--- The basis for the film of the same name. Love stories of gay men involved with Chinese opera.
Lichtenfels, Matthias Ludwig II, Konig von Bayern
(Dusseldorf: Deutsche Buchvertriebs- und Verlag Gesselschaft, 1960) 350 p.
Ludlam, Charles Galas In: The complete plays of Charles Ludlam
(New York: Perennial Library, 1989) xxi, 905 p.
--- Fictionalization of Maria Callas
Machard, Alfred Une vie d'amour: Puccini
(Paris: J. Tallandier, 1954), 221 p.
Machlis, Joseph The Career of Madga V
(New York: Norton, 1985) 313 p.
--- A veiled account of Schwarzkopf in post-war Vienna.
MacLeod, Charlotte The plain old man
(Garden City, NY: Published for the Crime Club by Doubleday, 1985) 180 p. (London: Collins, 1985) 200 p. (New York: Avon, 1986)
--- Usual frivolous MacLeod nonsense with Sarah Kelling involved with a stolen painting and a murder while assisting in an amateur production of Gilbert & Sullivan's "The Sorcerer". The "plain old man" is the notary immortalized by G & S.
Malvern, Gladys Blithe genius: the story of Rossini
(New York: Longmans, Green, 1959) 202 p.
Mann, Klaus Vergittertyes Fenster
(Amsterdam: Querido-Verlag, 1937) 112 p. (Frankfurt-am-Main: S. fischer, 1960) 95 p.
--- Novelle um den Tod des Konigs Ludwigs II. von Bayern
Mann, Thomas --- the Wagnerian influence is apparent in all his novels - i.e. either he uses leitmotiven (e.g. the repeated use in TONIO KROEGER of the observation "Schliesslich sind wir keine Zigeuner im gruenen Wagen") or his Novellen are explicitly based on Wagner's operas. e.g. TRISTAN And an early work, WAELSUNGENBLUT (The Blood of the Valsungs), in which a brother and sister, who happen to be called Siegmund and Sieglinde, go to a performance of DIE WALKUERE, and are so overwhelmed that, when they return home, they - er - re-enact the conclusion of Act I on the hearthrug.
Mario, Queena Death drops Delilah
(New York: E. P. Dutton, 1944) 206 p.
Mario, Queena Murder in the opera house
(New York: E. P. Dutton, 1934) 286 p.
Mario, Queena Murder meets Mephisto
(New York: E. P. Dutton, 1942) 244 p. (New York: Bartholomew House, 1945) 186 p.
Marsh, Ngaio Photo finish
(London: Collins, 1980) 262 p. (Boston: Little, Brown, 1980) 252 p.
= Translated into German and published as: Applaus zum bitteren Ende
(Bern: Scherz, 1983) 173 p.
--- Superintendent Alleyn and his wife are invited to a retreat in New Zealand, she to paint the portrait of an opera singer, he to advise the singer's associates on security.
Maupin, Armistead Tales of the City
(New York: HarperPerennial, 1994) 371 p.
--- A few opera scenes.
May, Julian Jack the Bodiless
(New York: Knopf, 1992) 463 p.
--- It's set in some distant future and one of the characters is apparently a soprano who had sung Rimsky-Korsakov's SNOW MAIDEN at The Met. Through a telepathic child she is pregnant with she can replay her performance in other people's minds!!
Mayer, Martin A Voice That Fills the House
(New York: Simon & Schuster, 1959) 249 p.
--- Fun-trash novel.
McCourt, James Mawrdew Czgowchwz
(New York: Farrar, Straus and Giroux, 1975) 230 p.
--- A fairly wicked send-up of Schwarzkopf. It is splended satire, by a man who knows the art form inside and out. The more you know about music the funnier this book is.
Meggs, Brown Aria
(New York: Atheneum, 1978) 466p.
--- Classical record producer getting a recording of OTELLO off the ground. Major factors: young, black tenor of imposing presence and raw talent; superannuated soprano; aging tenor to whom role had been promised. Various players in the music biz (central character based in L.A.). Setting is largely Rome where recording is to be made. Concern is with personalities, casting, production detail. Assorted sexual affairs (no evidence of passion, just libido). I found the writing heavy but the behind-the-scenes production information worth slogging through the rest. It also, I must admit, has some fun stuff about setting up an OTELLO recording in Rome, with a recalcitrant orchestra, an impossible conductor, and a cast which should not be singing their roles. --- I LOVED "Aria" and encourage all Listers to find it if they can. It's all about opera and recording operas. Further, it has vivid and often scurrilous portraits of a number of singers you will recognize despite their pseudonyms. It is not, though, a *roman a clef*. Anyway, it's kind of a MUST for opera people.
Merrill, Robert and Fred G. Jarvis The Divas
(New York: Simon & Schuster, 1978) 414 p. (New York: Berkeley Publishing Corp., 1979) 359 p.
--- He refers to his Anna Moffo character Carla Scarlatti as having gotten into serious vocal problems due to a very basically faulty technique. The portrayals of the divas Kirsten, Steber, and Moffo ring incredibly true in most respects. The majority of the "events" in the lives of these divas are taken from fact.
Meyer, Nicholas The canary trainer: from the memoirs of John H. Watson, M.D.
(New York: Norton, 1993) 224 p.
--- Detective story, sequel to the Seven Percent Solution. Sherlock Holmes hunting around the opera in Paris.
Michaels, Grant Mask for a Diva
(New York: St. Martin's Press, 1994) 296 p.
--- a book in the heroic/fantasy vein, entitled 'Rhinegold', a fictional relation of the main Ring episodes, based on legendary and historical sources.
Mikeleitis, Edith Der grosse Mittag
(Darmstadt: O. A. Ehlers, 1954) 509 p.
--- Die "Sternenfreundschaft" Friedrich Nietzsches und Richard Wagner.
Moore, George Evelyn Innes
(New York: D. Appleton, 1898) 435 p.
Mordden, Ethan The Venice Adriana
(New York: St. Martin's Press, c1998) 294 p.
Moser, Max Richard Wagner in der englischen Literatur des XIX. Jahrhunderts
(Bern, A. Francke [1938]) 118 p.
--- Discussion of Wagner in 19th century English fiction. (See also under: Jacobson, Anna)
Murder at the Opera
(London: O'Mara, 1988) vi, 250 p. (London: Headline, 1989) xiv, 303 p. (New York: Mysterious Press, 1989) vi, 250 p.
--- A collection of eleven murder mysteries by such renowned authors as Agatha Christie, O. Henry, Hector Berlioz, Rex Stout, Helen Traubel. The anthology was edited by Thomas Godfrey.
Murdoch, Iris A fairly honorable defeat
(New York: Viking Press, 1970) 436 p.
--- Fischer-Dieskau crops up in the disastrous dinner-party scene with the gay couple (Axel and Simon) and the character who causes all the disruption in the novel.
Murphy, Thomas The Gigli concert
(Dublin, Ireland: Gallery Press, 1984) 75 p.
Murray, William When the fat man sings
(Toronto [Ont.]; New York: Bantam Books, 1987) 216 p.
--- This novel is about "Fulvio Gasparini," known as the world's greatest tenor and the worst gambler, altho the protagonist is "Shifty" Lou Anderson, Vegas magician and habitue of race tracks (who, by the by, ends up loving Verdi). The story gets real complicated, as you can imagine, but it's a fun read. FWIW, in my extremely humble opinion, "Fulvio" seems to be a combo of Pavarotti and di Stefano.
Myers, Henry The signorina
(New York: Corwn Publishers, 1956) 311 p.
--- Novel on the life of Maria Malibran.
Nash, Roy Sing, my poor heart, sing
(Notre Dame, IN: Dujarie Press, 1955) 96 p.
--- Novel on the life of Franz Schubert.
Nichols, Beverley Evensong
(Garden City, N.Y.: Doubleday, Doran & company, 1932) 327 p.
--- The author's nasty payback for his time serving as Melba's secretary.
Nowak, Hans, and Georg Zivier Die Macht des Schicksals: ein Verdi-Roman
(Frankfurt-am-Main: H. Schaffler, 1951) 316 p.
O'Brien, Kate As Music and Splendor
(London: Heinemann, 1958)
Oettinger, Eduard Marie Rossini
(Leipzig, 1847)
= Translated into French by P. Royer and published as: Rossini: l'homme et l'artiste
(Bruxelles, 1858) (Leipzig: A. Schnee, 1858)
= Translated into Italian by Giacomo Vanzolini and published as: Gioacchino Rossini in animo e in corpo
(Pesaro: A. Nobili, 1892) 305 p.
Osborne, Conrad L. O Paradiso
(New York : Arbour House/William Morrow, 1988) 349 p.
--- One of my favorite operatic novels, mainly because I was there, as were a lot of the listers, I think. It hits very close to home, and to my roots as an opera person. And yes, it is a difficult plot to follow. But then, isn't life? --- As knowledgeable and well-written as everything by this critic, though I find it problematic as a whole. There are subplots about a group of recording fanatics finding a pristine cache of old records, and about a music critic who's becoming more and more isolated. But the main plot has to do with a deconstructionist production of L'AFRICANA mounted with private funding on the Upper West Side, with a cabaret star as Selika. The four pages that describe everything going through a young tenor's mind as he sings "O Paradiso" for his audition are priceless insight into the singer's thoughts.
Pargeter, Edith -- see under: Peters, Ellis
Paul, Barbara (pseudonym; also under Ovstedal, Barbara) A Chorus of Detectives
(New York: St. Martin's Press, 1987)
A Cadenza for Caruso
(New York: St. Martin's Press, 1984) 146 p. (New York: New American
Library, 1986) 172 p. (Bath: Chivers, 1986) 264 p.
(Boston: G. K. Hall, 1986) 257 p. (New York: St. Martin's Press, 1988)
Prima Donna at Large
(New York: St. Martin's Press, 1985)
--- The series of opera mysteries is: A Cadenza for Caruso (with Puccini as one of the main characters), Prima Donna at Large (Geraldine Farrar) and A Chorus of Detectives (with members of the Met Chorus dropping dead far too often, but the chorus of detectives refers to Caruso, Farrar, and
(I think) Amato as the detectives). Gatti-C. shows up in all three.
Historically the three novels are all very plausible with virtually everything about the historic characters true to life. Three very enjoyable reads. Honestly, they're not her very best as mysteries, but the setting in the Met, with Caruso, Farrar, Amato, Destinn (and in the last book young Rosa Ponselle) as main characters, and their doings convincingly rendered, makes them irresistible.
Payne, Laurence Vienna blood
(London: Hodder and Stoughton, 1984) (Garden City, NY: Published for the Crime Club by Doubleday, 1984) 188 p.
--- I would like to add this very good one to the list. Good plot with lots of Viennese and VSO background, including a famous imagined soprano named Alicia Steinberg, well past the end of her career but apparently famous in the 20's and 30's in Wagnerian-Straussian roles. Lots of real singers of the period are mentioned in this context, including the Konetzni sisters. A good read.
Pearson, Diane Voices of Summer
(New York: Crown Publishers, 1992) 272 p.
--- an extremely sentimental novel out a couple of years ago about a small German operetta festival and an aging diva finding love.
Perrin, Ursula Unheard Music
(New York: Doubleday, 1981) 315 p.
Peters, Ellis [Pseudonym of Edith Pargeter, under which some of her works appear.] Funeral of Figaro
(London: Published for the Crime Club by Collins, 1962) 192 p. (New York: Morrow, 1964) 192 p.
--- Ellis Peters often uses opera or classical motives in her novels Funeral of Figaro - a very nice mystery novel that takes place in a repertory opera company that is doing "Marriage of Figaro." The story is set at some fictional opera house putting on Nozze, and the Figaro has just died unexpectedly. The novel opens with a star substitute arriving and putting everyone in tumult.
Peters, Ellis The Horn of Roland
(London: Macmillan, 1974) 160 p. (New York: Morrow, 1974) 159 p.
Peters, Ellis The House of Green Turf
(London: Published for the Crime Club by Collins, 1969) 192 p. (New York:
Morrow, 1969) 220 p. --- Utilizes Mahler Lieder.
Peters, Ellis The Will and the Deed
(London: Published for the Crime Club by Collins, 1960) 192 p.
--- Utilizes DER ROSENKAVALIER.
Peterson, Audrey Deadly Rehearsal
(New York: Pocket Books, 1990)
--- "An Andrew Quentin and Jane Winfield Mystery." At the Southmere Opera Festival, in Sussex, "Traviata" is in rehearsal when the festival producer is discovered murdered.
Pohl, Frederick Outnumbering the dead
(London: Century, 1990) 110 p. (New York: St. Martin's Press, 1992)
--- A very short novel about a musical performance of Oedipus rex. It is not properly opera, but the way that future is portrayed (very multicultural). I'm sure it has some elements of it.
Pratchett, Terry Maskerade --- Operatic goings-on in the Discworld.
Pultz, Wilhelm Die Geburt der deutschen Oper
(Leipzig: Hase & Koehler, 1939) 296 p.
--- Roman um Carl Maria von Weber.
Purdy, James Out with the stars
(San Francisco: City Lights, 1992) 192p
--- Retired composer Abner Blossom wants to compose an opera based on a recently discovered anonymous libretto, but others want to stop him.
Pym, Barbara The Sweet Dove Died
(London: Macmillan, 1978) 208 p. (New York: Perennial Library, 1987) 208 p.
--- Odd relationship between Leonora Eyre and antique dealer Humphrey Boyce and his nephew James. The only mention of opera is a visit to Covent Garden for a performance of Tosca by Humphrey and Leonora.
Rau, Heribert Carl Maria von Weber
(Leipzig: T. Thomas, 1865) 3 vols. in 1
--- Culturgeschichtlich-biographischer Roman.
Reeves, John Murder with muskets
(Toronto ; Garden City, NY: Doubleday, 1985) 207 p.
--- The firing squad fires real bullets at Cavaradossi in the last act of Tosca during a performance in Toronto. Bach-loving Inspector Coggin must discover the murderer.
Reisigner, Hans Unruhiges Gestirn: Die Jugend Richard Wagners (Leipzig: P. List, 1930) 364 p.
(Leipzig, Munchen: P. List, 1948) 264 p.
= Translated into English by Maida E. Darnton and published as: Restless star: the youth of Richard Wagner
(New York, London: The Century Co., 1932) ix, 323 p.
Remy, Pierre-Jean Cordelia ou l'Angleterre
([Paris]: Gallimard, 1979) 332 p.
--- Mystery, part of which takes place in Glyndebourne.
Remy, Pierre-Jean La mort de Floria Tosca
([Paris]: Mercure de France, 1974) 146 p.
--- About the death of Maria Callas -- absolutely boring.
Remy, Pierre-Jean Salue pour moi le monde
([Paris]: Gallimard, 1980) 379 p.
--- Interesting as the action takes place at a Bayreuth festival during the performances of Patrick Chereau/Pierre Boulez Ring.
Rice, Anne Cry to Heaven
(New York: Alfred A. Knopf, 1982) 584 p. (New York: Alfred A. Knopf, 1982)
533 p. (New York: Pinnacle, 1983) 533 p.
(New York: Pinnacle/Windsor, 1988) 533 p. (London: Chatto & Windus, 1990)
533 p.
(London: Penguin Books, 1991) 581 p. (New York: Ballantine Books, 1991) 533 p. (New York: Quality Paperback
Book club, 1991) 533 p. --- Antonio Treschi, heir to the Treschi fortune in 18th Century Venice becomes a victim of his older brother's malice, and joins the ranks of the castrati, eventually becoming the greatest singer of his time, but he will never be satisfied until he gets his revenge.
Richardson, Henry Handel, pseud. The young Cosima, a novel
(New York, W. W. Norton, 1939) 390 p.
--- Fictional story involving Cosima and Richard Wagner. Contains a section "Sources and authorities": p. 389-390.
Richter, Hermann Da wilde Herz
(Leipzig: Koehler & Amelang, 1927) 232 p.
--- Lebensroman der Wilhelmine Schroder-Devrient.
Roosevelt, Blanche, 1853-1898 (pseudonym) Stage-struck; or, She would be an opera-singer
(New York: Fords, Howard, & Hulbert, 1884) 521 p. (London: Sampson Low & Co., 1884) 521 p.
Ross, Kate The Devil in Music
(New York: Viking, 1997)
--- Opera buff detective in Regency England.
Rothenberger, Anneliese In mir klingt ein Lied: die schonsten Geschichten aus der Welt der Musik
(Munchen: Lichtenberg, 1974) 260 p.
Edited by Rothenberger and M. Kluge.
Rousselot, Jean La vie passionnee de Wagner
(Paris: Editions Seghers, 1960) 332 p.
Sanborn, Pitts Prima donna, a novel of the opera
(London, New York: Longmans, Green, 1929) 616 p.
Sand, George --- Music and Opera are present in numerous works of the french writer George Sand. In ' La Comtesse de Rudolstadt ', where music and opera are the link between the different characters (you meet Porporina (sp) and even a very young Haydn). In some of her novels set in Venice too, opera plays a great part, I remember there is even one novel beginning with the 'ecco ridente' from the Barber.
Sand, George Consuelo
Satter, Heinrich Angelica Catalani: Primadonna der Kaiser und Konige (Frankfurt am Main: Frankfurter Bucher, 1958) 512 p.
Scott, Phillip One Dead Diva
(Sydney: BlackWattle Press, 1995 ) 230 p.
--- Jennifer Burke was a rising star in the Sydney City Opera until she fell off a cliff ... or was she pushed? Marc, an accident-prone opera queen, and his friend Paul, a chorus boy addicted to dance parties, decide to investigate. Being very amateur detectives, they incompetently lose the evidence and accuse all the wrong people in their quest to solve the puzzle. Part murder mystery, part farce, part contemporary satire, and even part romance, One Dead Diva is one lively read.
Scribe, Augustin Eugene Carlo Broschi: nouvelle historique
(Bruxelles: Miline, Cans, 1839) (Bruxelles: Societe Belge de Librairie, 1839) 177 p.
--- Novel about Farinelli.
Second, Alberic Les petits mysteres de l'Opera
(Paris : G. Kugelmann, 1844) [4], 320 p.
Siciliano, Sam The Angel of the opera: Sherlock Holmes meets the Phantom of the Opera
(New York: O. Penzler Books, 1994) 256 p.
--- Based on characters created by Sir Arthur Conan Doyle and Gaston Leroux.
Silbermann, Alphons Das imaginare Tagebuch des Herrn Jacques Offenbach (Berlin: Bote & Bock, 1960) 456 p.
Sinstadt, Gerald The Fidelio Score
(London: John Long, 1965)
--- An espionage novel set in the opera world. "From a nondescript office in Waterloo Road, British Intelligence runs its courier service and sends out semiprofessional agents, often with inadequate cover. Geoffrey Landon, free-lance music critic, is conscripted and, aware that his predecessor was murdered, goes to contact an Australian opera singer working on the continent. But the singer has disappeared, and Landon is caugt up in a chilling and tragic network of intrigue."
Smith, Kate Nolte Elegy for a Soprano
(New York: Villard Books, 1985) 277 p.
Sontag, Susan The volcano lover
(New York: Farrar, Straus, Giroux, 1992) 419 p.
Stacey, Susannah [pseudonym of Jill Staynes] A Knife At The Opera
(London: Bodley Head, 1988) 165 p. (New York : Summit Books, 1989) 165 p
--- Mystery.
Staynes, Jill - see under her pseudonym Stacey, Susannah
Stewart, Edward Ariana
(New York: Crown Publishers, 1984) 488 p. (New York: Crown Publishers,
19845) 466 p. (London: Macillan, 1985) 466 p.
(New York, Toronto: Paper Jacks, 1986) 534 p. (New York: Dell, 1992) 564 p.
= Translated into German by Hilde Linnert and published: (Zurich: Diana, 1989) 544 p. = Translated into Italian by Adriana Dell'Orto and published as: Una diva
(Milano: Sperling & Kupfer, 1988) 565 p.
Stuhlfaut, Lene Nur wer durch Feuer bricht
(Bayreuth: J. Steeger, 1952) 271 p.
Swarthout, Gladys Come soon, tomorrow : the story of a young singer (Philadelphia: The Blakiston company; 1943) viii p., 278p. (New York: Dodd, Mead & company, 1944) viii p., 278 p.
Thiess, Frank Caruso: Roman einer Stimme Buch 1: Caruso in Neapel: Die Legende einer Stimme Buch 2: Caruso in Sorrent
(Wien: K. H. Bischoff, 1942) 2 vol. (Hamburg: P. Zsolnay, 1942) 2 vol. (Hamburg: W. Kruger, 1946) 2 vol. (Stuttgart: Europaischer Buchklub, 1952) 2 vol. in 1
Buch 1: Caruso in Neapel: Die Legende einer Stimme Gutersloh?: Bertelsmann-Verlag, 1955) 317 p. Buch 2: Caruso in Sorrent
(Hamburg: W. Kruger, 1946) 455 p. (Wien: P. Zsolnay, 1949) 461 p. (Stuttgart: Fackel-Buchklub, 1950?) 601 p. (Frankfurt-am-Main: Fischer,
1963) 345 p.
Der Tenor von Trapani
(Leipzig: P. Reclam jun., 1942) 74 p.
= Translated into Italian by Anita Rho and published as: Il tenore di Trapani
(Torino: Frassinelli, 1942) 195 p.
Also about Caruso - probably an altered version from the 2 volume work.
Thorp, Roderick Jenny and Barnum: a novel of love
(Garden City, NY: Doubeday, 1981) 375 p. Apparently about Jenny Lind and
Phineas T. Barnum.
Tolstoy, Leo War and Peace Many editions and translations from the Russian: --- the heroine, Natasha, meets Anatole at the opera (and is in fact a mezzo herself) whom she has an affair of sorts with and ruins her relationship with her betrothed, Prince Andrei.
Traubel, Helen The Metropolitan Opera Murders
(New York: Simon & Schuster, 1951) 192 p. (New York: Avon, 1951) 158 p. (New York: Simon & Schuster, 1951) 234 p.
--- Everyone at the Met read to see if they were included.
Trollope, Anthony The Landleaguers
(London, Chatto & Windus, 1883) (Oxford ; New York: Oxford University Press, 1993) xxx, 444 p.
--- Subplot concerns a young American woman who travels to London to try to make it in opera.
Van Vechten, Carl Interpreters and interpretations
(New York: A.A. Knopf, 1917) 368p.
--- Several of these essays have appeared in the Bellman, the Musical quarterly, the Seven arts, and Vanity fair. "However all of these have been considerably altered and expanded."
Verne, Jules Une Fantasie du Docteur Ox
(Dr. Ox) (New York: French & European Publications, Inc. 1978)
--- Jules Verne's Le docteur Ox. The good "doctor" undertakes to vitalize a phlegmatic Flemish town (I won't spoil the end by specifying how), and the effect of his ministration is described partly in terms of a performance of LES HUGUENOTS, whose multi-hour longeurs usually have the audience asleep by the end. In this case, the performance grows more and more exciting, bringing the cheering audience to its feet when it ends, something like 2-1/2 hours after it began. The images by which Verne builds this picture are generally musical and make it evident that he was quite familiar with the opera. There is another, semi-operatic connection with the story. It
(as well as
Verne's _Voyage dans la lune_) was turned into an operetta by Jacques Offenbach.
Vine, Barbara No night is too long
(New York: Harmony Books, 1994) 315 p.
--- Alter ego of Ruth Rendell refers to "Keine Nacht dir zu lang" in DER ROSENKAVALIER.
Werfel, Franz Verdi: Roman der Oper
(Berlin: P. Zsolnay, 1924)
= Translated into English and published as: Verdi: a novel of the opera
(New York: Simon & Schuster, 1926)
Wharton, Edith Age of Innocence
(New York: Penguin, 1996) 330 p.
--- Uses the opera as an important background and the movie uses this to wonderful advantage in several key scenes. Newland Archer sees an old flame, Ellen Olenska, at the opera on the evening it is announced that he is engaged to be married to May Newland. The performance is "Faust". It all takes place in the boxes of the old Met.
Williams,Kirby The opera murders
(New York, C. Scribner's sons, 1933) 259 p.
Williamson, Audrey. Funeral march for Siegfried
(London: Elek, 1979)
--- My dim recollection of it is that it takes place during a Ring Cycle at Covent Garden at some point in the late 1950s. Williamson is the noted opera and ballet critic. She wrote two detective novels featuring her hero, Inspector Richard York who had two passions--horse racing and opera.
Yarbro, Chelsea Q. Music when sweet voices die
(New York: Putnam, 1979) 264 p.
Later retitled: False notes
(New York: Jove, 1991) 245 p.
--- Murder on stage at the San Francisco Opera House when the tenor singing Hoffmann dies of poison during the final scene. Canadian Ojibway medicine man, Charlie Spotted Moon, a lawyer practicing in San Francisco
(this really is fiction!), is asked by one of the Opera's benefactors to
look after the House's interests.
Gertrud Elisabeth Mara (née Schmeling)
The Mozart Brothers --- is a funny, detailed look behind the scenes of a modern-type production of DON GIOVANNI, with all the upheavals and "special exercises."
--- I remember reading one mystery in which there was a brief encounter with an aging never-was (not even a has-been) opera singer, who claimed that "The voice is such a fickle servant. I lost my portamento prematurely."
--- And there is this short story, is it by Conan Doyle, I do not remember, about a tenor having a love affair with the wife of a surgeon. The surgeon decides to get his revenge, has the tenor attacked in the street and brought to his office, and, there practices an operation that deprives him of the use of his vocal chords. The tenor wakes to find out he can not utter any sound.
If you ever wanted proof of the old saying "Nothing exceeds like excess", this file should be of interest to you. For true opera buffs, it isn't enough to immerse themselves in opera on stage, screen and recording. The passion governs their tastes in reading as well. A recurring thread on "Opera in Fiction" on Opera-L drew an amazing response from the list members and led to the creation of this file, which is a listing of fictional works in which opera or singing is mentioned. It is interesting to note how many of the offerings are detective/mystery stories - an indication of a sinister mindset perhaps?
The sources are postings on Opera-L and various library catalogs. Entries from Charles H. Parson's An Opera Bibliography (published as volume 17 of the Mellen Opera Reference Index) have also been incorporated into the list.
Edited by: Sandra Alston, Mickie Fitton, Wendy Fuller-Mora, Bob Kosovsky
Gano, John Death At The Opera
(New York: St. Martin's Press, 1996) 199 p.
Gillette, Paul J. Carmela
(New York: Arbor House, 1972) 349 p.
Gluth, Oskar Der verhexte Spitzweg
(Leipzig: L. Staackmann, 1928) 331 p. (Bamberg: Staachmann, 1960) 331 p. (Munchen: L. Staackmann, 1974) 251 p.
--- "Ein heiterer Munchner Roman."
Goetz, Curt Die Tote von Beverly Hills...
(Munchen: Deutscher Taschenbuch Verlag GmbH & Co. KG, 1969) 151 p.
--- A young German girl at her first opera performance conceives an overwhelming passion for the tenor and the two conduct a serious affair, during which he may attempt to educate her. The ending of the affair leads to the events which culminate in the corpse in California. The nature of the erotic, first demonstrated in the immediate response of the girl to the performer, is an aspect of the novel that is important also in opera.
Goldman, Lawrence The Castrato
(New York: John Day, 1973) 264 p.
--- A fictionalized biography of Farinelli. I read the opening chapter, really a prologue, and the next chapter, which was a description of how they did it to him. After I finished feeling sick I refused to read on. My mistake. I DO remember the prologue as rather effective: some forgotten opera being produced in London, the usual opening chorus of woodsy mythological creatures, and then Goldman describes this voice like a soprano trumpet heard first in the wings, sustaining and modulating a single, soaring note as Farinelli himself enters. He sings an impossible aria and is rewarded with the near hysteria of the London audience: women faint, etc. The chiller is at the very end of the chapter: some overenthusiastic patron shouts "Evviva il cotello! Evviva il benedetto cotello!" followed by a description of the sad smile that crosses Farinelli's face as he bows in the direction of the voice. It provides the perfect segue to the chapter describing his ruined childhood.
Gozzano, Umberto Rossini; il romanzo dell'opera
(Torino: G. B. Paravia, 1955) 199 p.
Grey, Mrs. (Elizabeth Caroline)
(Philadelphia, E. Ferrett, 18--) 112 p.
--- The young prima donna: a romance of the opera
Harbaugh, Karen The Vampire Viscount
(Signet, 1995)
--- It's a combination Regency Romance/SciFi. During a performance of the opera, the viscount in question muses on the nature of Don Giovanni and his relationship with women. I was also informed that in the Regency genre the characters attend the opera quite often.
Harris, Macdonald Herma
(New York: Atheneum, 1981) 431 p.
--- An enjoyable saga, some of which is set in the Parisian opera world at the turn of the century. Jacket praise from James McCourt (see below) should be recommendation enough.
Harvey, Andrew Burning Houses
(Boston: Houghton Mifflin, 1986) 214 p.
--- A superb and serious novel with an outrageous and unforgettable main character, Adolphe, who refers to Callas and opera to solve the gay young hero's problems.
Haslinger, Josef:
Opernball (Fischer Taschenbuch, 1997) (Fischer, S, 1995)
--- It is a novel about a terroristic gas attack to the Vienna State Opera during the yearly Opernball. It was a huge success in German-speaking countries both with the public and critics.
Henderson, W. J. The Soul of a Tenor: a Romance
(New York: Henry Holt, 1912) 366 p.
--- Author was distinguished music critic of The Sun and wrote many books on opera, Wagner.
Hesse, Hermann Gertrud
(Munchen: A. Langen, 1910) 301 p.
= Translated into English by Hilde Rosner and published:
(New York: Farrar, Straus and Giroux, 1969) 237 p.
--- A fairly short, poetic, very romantic, philosophical and also tragic in which music and opera in particular plays an essential part. His story is so vivid that I found myself daydreaming about that small German town, Gertrud, the tenor and the musician.
Highsmith, Patricia The Boy Who Followed Ripley
--- There is a little vignette in which the boy in question gives Tom Ripley a Fischer-Dieskau Lieder recording and it is revealed that Tom Ripley is an F-D fan. (I wouldn't take this as a compliment, but F-D does. He's a big Patricia Highsmith fan.)
Hill, John Spencer The last castrato
(St. Martin's Press, 1995) 269 p.
--- This murder-myster centres on the adventures of an woman American doctoral student in Florence who is researching the contribution of the Camerata to early opera. It is appropriately light enough... The author is a professor of English at one of the universities here in the National Capital Region of Canada (the University of Ottawa). My initial impression is that the details regarding the Florence setting have been well researched, although I am still puzzling over the reference to the conductor coaching the French horns during a rehearsal of Orfeo.
Hoffman, Ernst Theodor Amadeus Ritter Gluck: eine Erinnerung aus dem Jahre 1809 (Dortmund: W. Cruwell, 1961) 32 p. --- Fiction.
Holt, Tom Expecting Someone Taller
(London: Orbit, 1987) (New York: St. Martin's Press, 1987) 218 p.
--- Malcolm Fisher accidentally kills Ingolf, last of the giants, and winds up with ring, tarnhelm etc and no idea of their use or history. No opera lover, he resorts to studying the Ring cycle to learn a little of the legends, but meanwhile, Alberich, Wotan and friends are in hot pursuit. Very humorous.
Holt, Tom Flying Dutch
(New York: Ace Books, 1996) 256 p.
The Dutchman is still returning to Great Britain. He could cause a major financial upheavel if he tries to collect his interest.
Huneker, James Painted Veils
(New York: Liveright, 1920) 310 p.
--- A wonderful evocation of artistic life in turn-of-the-century New York City by the noted music critic. Filled with musical and operatic references.
Insterburg, Ingo Das leben des Otto Darmstadt
(Leer: Rautenberg, 1973) 283 p.
Irving, John The Hotel New Hampshire
(New York: Dutton, 1981) 401 p.
--- How do you describe a John Irving novel? Another dysfunctional family, their lives and loves. Part of the book is set in Vienna near the Staatsoper. Opera in general, and Lucia di Lammmermoor in particular are featured.
Jacobson, Anna Nachklange Richard Wagners im Roman
(Heidelberg: C. Winter, 1932) viii, 134 p.
--- Not fiction but a discussion of Richard Wagner in fiction. (see also: Moser, Max)
Janetschek, Ottokar Der Konig und sein Meister
(Wien: Kremayr & Scherian, 1952)
--- Ein Roman um Ludwig II. von Bayern und Richard Wagner.
Janetschek, Ottokar Die Primadonna: ein Mozartroman
(Wien: Kremayr & Scheriau, 1956) 327 p.
Jarvis, Fred G. Murder at the Met
(New York: Coward-McCann, 1971) 237 p.
Joseph, Robert F. The Diva
(New York: Berkley Medallion, 1975) 312 p.
--- An original paperback novel whose cover reads "...the story of that poor but beautiful and talented girl who rose to become the greatest diva on two continents."
Joyce, James Ulysses
(New York: Modern Library, 1934) 767 p.
--- Molly Bloom is an opera singer and the work is full of operatic references.
Kaminsky, Stuart Poor Butterfly
(New York: Mysterious Press, 1990) 179 p.
--- Set in San Francisco in the 40s (?) with (better sit down for this one) Toscanini as a "man with a Secret."
Kane, Carol J Diva
(New York: HarperCollins, 1990) 487 p.
Kay, Susan Phantom
(New York: Delacorte Press, 1991) 458 p.
--- Prequel to Leroux's Phantom of the Opera.
Kay, Terry. Shadow song
(New York: Pocket Books/Simon & Schuster, 1994) 388 p.
--- Offbeat story of Avrum Feldman's lifelong obsession with Amelita Galli-Curci, and his effect on the life of Madison Lee "Bobo" Murphy, with whom he shares his story in the summer of 1955 when Bobo is 17 years old and in love for the first time.
Keating,, H.R.F. Death of a Fat God
(New York: Dutton, 1966) 256 p.
Keil, Doris Parkin The Ploughboy and the nightingale
(Toronto: Copp Clark, 1958) 304p.
--- Fiction about Jenny Lind.
Kingsford, Jane The Soprano: a Musical Story
(Boston: Loring, 1869) 179 p.
Kirkwood .James Good Times/Bad Times
(New York: Ballantine, 1983) 288 p.
--- Not a novel about opera by any means but the passages about being obsessed with the Bjoerling Calaf certainly hit home. The kind of stuff that makes you want to highlight it and write "this is true" in the margins.
Kobbe, Gustav Signora, a child of the opera house
(New York: R. H. Russell, 1902) 200 p. (New York: T. Y. Crowell, 1907) 205 p.
Kraft, Zdenko von Abend in Bayreuth: Roman
(Berlin: Hyperion-Verlag, 1943) 530 p.
Kraft, Zdenko von Wahnfried: ein Richard-Wagner-Roman
(Berlin: Globus, 1921) 353 p. (Leipzig, Zurich: Grethlein, 1922) 353 p.
Kronberg, Max Feuerzauber: ein Lebens-Roman Richard Wagners
(Leipzig: Koehler & Amerlang, 1932) 284 p.
Kronberg, Max Konig und Kunstler: Roman Konig Ludwigs II. und Richard Wagner
(Leipzig: Otto Janke, 1937) 333 p.
Kronberg, Max Der Sieg der Melodie: ein Puccini-Caruso-Roman
(Leipzig: Koehler & Amelang, 1935)
= Translated into Latvian by Tulkojis E. Feldmanis and published as: Pucini un Karuzo dzives romans: melodijas uzvara
(Riga: Gramatu Draugs, 1936)
Kuupsch, Joachim Ein Ende in Dresden: ein Richard-Wagner-Roman
(Berlin: Henschelverlag, 1964) 206 p. (Berlin: Henschelverlag, 1978) 202 p.
Lang, Maria [pseudonym of Dagmar Lange] Camilla vid skiljevagen Stockholm : Norstedt, 1978) 237 p. --- One of a string of detective stories whose hero (Christer Wijk, chief of the Swedish National Criminal Investigation Central, a Swedish parallell to FBI or Scotland Yard) is married to a fictious international opera star named Camilla Martin, a dramatic soprano with successful engagements all over the globe, particularly, it seems, in the 'jugendlich-dramatisches'
fach. Quite a bit of the action takes part in operatic surroundings,
especially in the Royal Swedish Opera House, and the author makes use of quite extensive (and somewhat ostentatious) name-dropping, so that Birgit Nilsson, Margareta Hallin, Göran Gentele, Elisabeth Söderström, Mari-Ann Haggander, Ingvar Wixell, Hakan Hagegard and quite a few lesser stars appear in the wings (but not, to my knowledge, Jussi B.) A recurrent theme is the conflict between the hero's occupation and his wifes international career, which she in the umpteenth book sacrifices on the altar of matrimonial happiness (and after a vocal crisis).
Lange, Fritz Johann Strauss, der Walzerkonig. Ein Roman (Berlin: R. Bong, 1925) 353 p.
Lauferty, Lillian Baritone
(Garden City, NY: Doubleday & Co., 1948) 276 p.
Lehmann, Lotte Orplid, mein Land
(Wien: H. Reichner, 1937) 252 p.
Leon, Donna Death at La Fenice
(New York: HarperCollins Publishers, 1992) 263 p.
--- A mystery novel that has an operatic theme and involves a conductor who seems to be a take-off on Herbert von Karajan.
Leroux, Gaston = Translated into English and published as: Phantom of the Opera = Translated into German by Rudolf Brettschneider and published as: Das phantom der oper
(Munchen: A. Langen, 1912) 459 p.
--- Did we mention the obvious Gaston Leroux 's ' Phantom of the Opera ' which is mostly taking place at the Opera Garnier and dreadful things happen during a performance of Faust.
Levai, Endre & Endre Barat La vie fantastique de Caruso: Roman
(Paris: Les Editions Artistique et Dcoumentaires, 1946) 224 p.
--- Franch "translation" of a spurious "American" edition.
Lewis, William Gala
(New York: Dutton, 1987) 246 p.
New York, Toronto: Paper Jacks, 1989) 246 p. = Translated into Spanish by Isabel de Miguel and published as: Gala
(Barcelona: Ediciones B, 1987) 279 p.
--- The author is the well-known tenor.
Lewitt, Shariann Interface masque
(New York: Tor, 1997) 350 p.
--- Set in Venice (future) in which powerful houses of computer information specialists manage the world's datastream. Powerful choirs using especially chosen opera and choral music sing to increase intelligence and control political situations. One villain in the story is jazz music.
Li, Pi-hua Pa-wang pieh Chi = Translated into English by Andrea Lingenfelter and published as: Farewell to my concubine: a novel by Lilian Lee
(New York: W. Morrow, 1993) 225 p.
--- The basis for the film of the same name. Love stories of gay men involved with Chinese opera.
Lichtenfels, Matthias Ludwig II, Konig von Bayern
(Dusseldorf: Deutsche Buchvertriebs- und Verlag Gesselschaft, 1960) 350 p.
Ludlam, Charles Galas In: The complete plays of Charles Ludlam
(New York: Perennial Library, 1989) xxi, 905 p.
--- Fictionalization of Maria Callas
Machard, Alfred Une vie d'amour: Puccini
(Paris: J. Tallandier, 1954), 221 p.
Machlis, Joseph The Career of Madga V
(New York: Norton, 1985) 313 p.
--- A veiled account of Schwarzkopf in post-war Vienna.
MacLeod, Charlotte The plain old man
(Garden City, NY: Published for the Crime Club by Doubleday, 1985) 180 p. (London: Collins, 1985) 200 p. (New York: Avon, 1986)
--- Usual frivolous MacLeod nonsense with Sarah Kelling involved with a stolen painting and a murder while assisting in an amateur production of Gilbert & Sullivan's "The Sorcerer". The "plain old man" is the notary immortalized by G & S.
Malvern, Gladys Blithe genius: the story of Rossini
(New York: Longmans, Green, 1959) 202 p.
Mann, Klaus Vergittertyes Fenster
(Amsterdam: Querido-Verlag, 1937) 112 p. (Frankfurt-am-Main: S. fischer, 1960) 95 p.
--- Novelle um den Tod des Konigs Ludwigs II. von Bayern
Mann, Thomas --- the Wagnerian influence is apparent in all his novels - i.e. either he uses leitmotiven (e.g. the repeated use in TONIO KROEGER of the observation "Schliesslich sind wir keine Zigeuner im gruenen Wagen") or his Novellen are explicitly based on Wagner's operas. e.g. TRISTAN And an early work, WAELSUNGENBLUT (The Blood of the Valsungs), in which a brother and sister, who happen to be called Siegmund and Sieglinde, go to a performance of DIE WALKUERE, and are so overwhelmed that, when they return home, they - er - re-enact the conclusion of Act I on the hearthrug.
Mario, Queena Death drops Delilah
(New York: E. P. Dutton, 1944) 206 p.
Mario, Queena Murder in the opera house
(New York: E. P. Dutton, 1934) 286 p.
Mario, Queena Murder meets Mephisto
(New York: E. P. Dutton, 1942) 244 p. (New York: Bartholomew House, 1945) 186 p.
Marsh, Ngaio Photo finish
(London: Collins, 1980) 262 p. (Boston: Little, Brown, 1980) 252 p.
= Translated into German and published as: Applaus zum bitteren Ende
(Bern: Scherz, 1983) 173 p.
--- Superintendent Alleyn and his wife are invited to a retreat in New Zealand, she to paint the portrait of an opera singer, he to advise the singer's associates on security.
Maupin, Armistead Tales of the City
(New York: HarperPerennial, 1994) 371 p.
--- A few opera scenes.
May, Julian Jack the Bodiless
(New York: Knopf, 1992) 463 p.
--- It's set in some distant future and one of the characters is apparently a soprano who had sung Rimsky-Korsakov's SNOW MAIDEN at The Met. Through a telepathic child she is pregnant with she can replay her performance in other people's minds!!
Mayer, Martin A Voice That Fills the House
(New York: Simon & Schuster, 1959) 249 p.
--- Fun-trash novel.
McCourt, James Mawrdew Czgowchwz
(New York: Farrar, Straus and Giroux, 1975) 230 p.
--- A fairly wicked send-up of Schwarzkopf. It is splended satire, by a man who knows the art form inside and out. The more you know about music the funnier this book is.
Meggs, Brown Aria
(New York: Atheneum, 1978) 466p.
--- Classical record producer getting a recording of OTELLO off the ground. Major factors: young, black tenor of imposing presence and raw talent; superannuated soprano; aging tenor to whom role had been promised. Various players in the music biz (central character based in L.A.). Setting is largely Rome where recording is to be made. Concern is with personalities, casting, production detail. Assorted sexual affairs (no evidence of passion, just libido). I found the writing heavy but the behind-the-scenes production information worth slogging through the rest. It also, I must admit, has some fun stuff about setting up an OTELLO recording in Rome, with a recalcitrant orchestra, an impossible conductor, and a cast which should not be singing their roles. --- I LOVED "Aria" and encourage all Listers to find it if they can. It's all about opera and recording operas. Further, it has vivid and often scurrilous portraits of a number of singers you will recognize despite their pseudonyms. It is not, though, a *roman a clef*. Anyway, it's kind of a MUST for opera people.
Merrill, Robert and Fred G. Jarvis The Divas
(New York: Simon & Schuster, 1978) 414 p. (New York: Berkeley Publishing Corp., 1979) 359 p.
--- He refers to his Anna Moffo character Carla Scarlatti as having gotten into serious vocal problems due to a very basically faulty technique. The portrayals of the divas Kirsten, Steber, and Moffo ring incredibly true in most respects. The majority of the "events" in the lives of these divas are taken from fact.
Meyer, Nicholas The canary trainer: from the memoirs of John H. Watson, M.D.
(New York: Norton, 1993) 224 p.
--- Detective story, sequel to the Seven Percent Solution. Sherlock Holmes hunting around the opera in Paris.
Michaels, Grant Mask for a Diva
(New York: St. Martin's Press, 1994) 296 p.
--- a book in the heroic/fantasy vein, entitled 'Rhinegold', a fictional relation of the main Ring episodes, based on legendary and historical sources.
Mikeleitis, Edith Der grosse Mittag
(Darmstadt: O. A. Ehlers, 1954) 509 p.
--- Die "Sternenfreundschaft" Friedrich Nietzsches und Richard Wagner.
Moore, George Evelyn Innes
(New York: D. Appleton, 1898) 435 p.
Mordden, Ethan The Venice Adriana
(New York: St. Martin's Press, c1998) 294 p.
Moser, Max Richard Wagner in der englischen Literatur des XIX. Jahrhunderts
(Bern, A. Francke [1938]) 118 p.
--- Discussion of Wagner in 19th century English fiction. (See also under: Jacobson, Anna)
Murder at the Opera
(London: O'Mara, 1988) vi, 250 p. (London: Headline, 1989) xiv, 303 p. (New York: Mysterious Press, 1989) vi, 250 p.
--- A collection of eleven murder mysteries by such renowned authors as Agatha Christie, O. Henry, Hector Berlioz, Rex Stout, Helen Traubel. The anthology was edited by Thomas Godfrey.
Murdoch, Iris A fairly honorable defeat
(New York: Viking Press, 1970) 436 p.
--- Fischer-Dieskau crops up in the disastrous dinner-party scene with the gay couple (Axel and Simon) and the character who causes all the disruption in the novel.
Murphy, Thomas The Gigli concert
(Dublin, Ireland: Gallery Press, 1984) 75 p.
Murray, William When the fat man sings
(Toronto [Ont.]; New York: Bantam Books, 1987) 216 p.
--- This novel is about "Fulvio Gasparini," known as the world's greatest tenor and the worst gambler, altho the protagonist is "Shifty" Lou Anderson, Vegas magician and habitue of race tracks (who, by the by, ends up loving Verdi). The story gets real complicated, as you can imagine, but it's a fun read. FWIW, in my extremely humble opinion, "Fulvio" seems to be a combo of Pavarotti and di Stefano.
Myers, Henry The signorina
(New York: Corwn Publishers, 1956) 311 p.
--- Novel on the life of Maria Malibran.
Nash, Roy Sing, my poor heart, sing
(Notre Dame, IN: Dujarie Press, 1955) 96 p.
--- Novel on the life of Franz Schubert.
Nichols, Beverley Evensong
(Garden City, N.Y.: Doubleday, Doran & company, 1932) 327 p.
--- The author's nasty payback for his time serving as Melba's secretary.
Nowak, Hans, and Georg Zivier Die Macht des Schicksals: ein Verdi-Roman
(Frankfurt-am-Main: H. Schaffler, 1951) 316 p.
O'Brien, Kate As Music and Splendor
(London: Heinemann, 1958)
Oettinger, Eduard Marie Rossini
(Leipzig, 1847)
= Translated into French by P. Royer and published as: Rossini: l'homme et l'artiste
(Bruxelles, 1858) (Leipzig: A. Schnee, 1858)
= Translated into Italian by Giacomo Vanzolini and published as: Gioacchino Rossini in animo e in corpo
(Pesaro: A. Nobili, 1892) 305 p.
Osborne, Conrad L. O Paradiso
(New York : Arbour House/William Morrow, 1988) 349 p.
--- One of my favorite operatic novels, mainly because I was there, as were a lot of the listers, I think. It hits very close to home, and to my roots as an opera person. And yes, it is a difficult plot to follow. But then, isn't life? --- As knowledgeable and well-written as everything by this critic, though I find it problematic as a whole. There are subplots about a group of recording fanatics finding a pristine cache of old records, and about a music critic who's becoming more and more isolated. But the main plot has to do with a deconstructionist production of L'AFRICANA mounted with private funding on the Upper West Side, with a cabaret star as Selika. The four pages that describe everything going through a young tenor's mind as he sings "O Paradiso" for his audition are priceless insight into the singer's thoughts.
Pargeter, Edith -- see under: Peters, Ellis
Paul, Barbara (pseudonym; also under Ovstedal, Barbara) A Chorus of Detectives
(New York: St. Martin's Press, 1987)
A Cadenza for Caruso
(New York: St. Martin's Press, 1984) 146 p. (New York: New American
Library, 1986) 172 p. (Bath: Chivers, 1986) 264 p.
(Boston: G. K. Hall, 1986) 257 p. (New York: St. Martin's Press, 1988)
Prima Donna at Large
(New York: St. Martin's Press, 1985)
--- The series of opera mysteries is: A Cadenza for Caruso (with Puccini as one of the main characters), Prima Donna at Large (Geraldine Farrar) and A Chorus of Detectives (with members of the Met Chorus dropping dead far too often, but the chorus of detectives refers to Caruso, Farrar, and
(I think) Amato as the detectives). Gatti-C. shows up in all three.
Historically the three novels are all very plausible with virtually everything about the historic characters true to life. Three very enjoyable reads. Honestly, they're not her very best as mysteries, but the setting in the Met, with Caruso, Farrar, Amato, Destinn (and in the last book young Rosa Ponselle) as main characters, and their doings convincingly rendered, makes them irresistible.
Payne, Laurence Vienna blood
(London: Hodder and Stoughton, 1984) (Garden City, NY: Published for the Crime Club by Doubleday, 1984) 188 p.
--- I would like to add this very good one to the list. Good plot with lots of Viennese and VSO background, including a famous imagined soprano named Alicia Steinberg, well past the end of her career but apparently famous in the 20's and 30's in Wagnerian-Straussian roles. Lots of real singers of the period are mentioned in this context, including the Konetzni sisters. A good read.
Pearson, Diane Voices of Summer
(New York: Crown Publishers, 1992) 272 p.
--- an extremely sentimental novel out a couple of years ago about a small German operetta festival and an aging diva finding love.
Perrin, Ursula Unheard Music
(New York: Doubleday, 1981) 315 p.
Peters, Ellis [Pseudonym of Edith Pargeter, under which some of her works appear.] Funeral of Figaro
(London: Published for the Crime Club by Collins, 1962) 192 p. (New York: Morrow, 1964) 192 p.
--- Ellis Peters often uses opera or classical motives in her novels Funeral of Figaro - a very nice mystery novel that takes place in a repertory opera company that is doing "Marriage of Figaro." The story is set at some fictional opera house putting on Nozze, and the Figaro has just died unexpectedly. The novel opens with a star substitute arriving and putting everyone in tumult.
Peters, Ellis The Horn of Roland
(London: Macmillan, 1974) 160 p. (New York: Morrow, 1974) 159 p.
Peters, Ellis The House of Green Turf
(London: Published for the Crime Club by Collins, 1969) 192 p. (New York:
Morrow, 1969) 220 p. --- Utilizes Mahler Lieder.
Peters, Ellis The Will and the Deed
(London: Published for the Crime Club by Collins, 1960) 192 p.
--- Utilizes DER ROSENKAVALIER.
Peterson, Audrey Deadly Rehearsal
(New York: Pocket Books, 1990)
--- "An Andrew Quentin and Jane Winfield Mystery." At the Southmere Opera Festival, in Sussex, "Traviata" is in rehearsal when the festival producer is discovered murdered.
Pohl, Frederick Outnumbering the dead
(London: Century, 1990) 110 p. (New York: St. Martin's Press, 1992)
--- A very short novel about a musical performance of Oedipus rex. It is not properly opera, but the way that future is portrayed (very multicultural). I'm sure it has some elements of it.
Pratchett, Terry Maskerade --- Operatic goings-on in the Discworld.
Pultz, Wilhelm Die Geburt der deutschen Oper
(Leipzig: Hase & Koehler, 1939) 296 p.
--- Roman um Carl Maria von Weber.
Purdy, James Out with the stars
(San Francisco: City Lights, 1992) 192p
--- Retired composer Abner Blossom wants to compose an opera based on a recently discovered anonymous libretto, but others want to stop him.
Pym, Barbara The Sweet Dove Died
(London: Macmillan, 1978) 208 p. (New York: Perennial Library, 1987) 208 p.
--- Odd relationship between Leonora Eyre and antique dealer Humphrey Boyce and his nephew James. The only mention of opera is a visit to Covent Garden for a performance of Tosca by Humphrey and Leonora.
Rau, Heribert Carl Maria von Weber
(Leipzig: T. Thomas, 1865) 3 vols. in 1
--- Culturgeschichtlich-biographischer Roman.
Reeves, John Murder with muskets
(Toronto ; Garden City, NY: Doubleday, 1985) 207 p.
--- The firing squad fires real bullets at Cavaradossi in the last act of Tosca during a performance in Toronto. Bach-loving Inspector Coggin must discover the murderer.
Reisigner, Hans Unruhiges Gestirn: Die Jugend Richard Wagners (Leipzig: P. List, 1930) 364 p.
(Leipzig, Munchen: P. List, 1948) 264 p.
= Translated into English by Maida E. Darnton and published as: Restless star: the youth of Richard Wagner
(New York, London: The Century Co., 1932) ix, 323 p.
Remy, Pierre-Jean Cordelia ou l'Angleterre
([Paris]: Gallimard, 1979) 332 p.
--- Mystery, part of which takes place in Glyndebourne.
Remy, Pierre-Jean La mort de Floria Tosca
([Paris]: Mercure de France, 1974) 146 p.
--- About the death of Maria Callas -- absolutely boring.
Remy, Pierre-Jean Salue pour moi le monde
([Paris]: Gallimard, 1980) 379 p.
--- Interesting as the action takes place at a Bayreuth festival during the performances of Patrick Chereau/Pierre Boulez Ring.
Rice, Anne Cry to Heaven
(New York: Alfred A. Knopf, 1982) 584 p. (New York: Alfred A. Knopf, 1982)
533 p. (New York: Pinnacle, 1983) 533 p.
(New York: Pinnacle/Windsor, 1988) 533 p. (London: Chatto & Windus, 1990)
533 p.
(London: Penguin Books, 1991) 581 p. (New York: Ballantine Books, 1991) 533 p. (New York: Quality Paperback
Book club, 1991) 533 p. --- Antonio Treschi, heir to the Treschi fortune in 18th Century Venice becomes a victim of his older brother's malice, and joins the ranks of the castrati, eventually becoming the greatest singer of his time, but he will never be satisfied until he gets his revenge.
Richardson, Henry Handel, pseud. The young Cosima, a novel
(New York, W. W. Norton, 1939) 390 p.
--- Fictional story involving Cosima and Richard Wagner. Contains a section "Sources and authorities": p. 389-390.
Richter, Hermann Da wilde Herz
(Leipzig: Koehler & Amelang, 1927) 232 p.
--- Lebensroman der Wilhelmine Schroder-Devrient.
Roosevelt, Blanche, 1853-1898 (pseudonym) Stage-struck; or, She would be an opera-singer
(New York: Fords, Howard, & Hulbert, 1884) 521 p. (London: Sampson Low & Co., 1884) 521 p.
Ross, Kate The Devil in Music
(New York: Viking, 1997)
--- Opera buff detective in Regency England.
Rothenberger, Anneliese In mir klingt ein Lied: die schonsten Geschichten aus der Welt der Musik
(Munchen: Lichtenberg, 1974) 260 p.
Edited by Rothenberger and M. Kluge.
Rousselot, Jean La vie passionnee de Wagner
(Paris: Editions Seghers, 1960) 332 p.
Sanborn, Pitts Prima donna, a novel of the opera
(London, New York: Longmans, Green, 1929) 616 p.
Sand, George --- Music and Opera are present in numerous works of the french writer George Sand. In ' La Comtesse de Rudolstadt ', where music and opera are the link between the different characters (you meet Porporina (sp) and even a very young Haydn). In some of her novels set in Venice too, opera plays a great part, I remember there is even one novel beginning with the 'ecco ridente' from the Barber.
Sand, George Consuelo
Satter, Heinrich Angelica Catalani: Primadonna der Kaiser und Konige (Frankfurt am Main: Frankfurter Bucher, 1958) 512 p.
Scott, Phillip One Dead Diva
(Sydney: BlackWattle Press, 1995 ) 230 p.
--- Jennifer Burke was a rising star in the Sydney City Opera until she fell off a cliff ... or was she pushed? Marc, an accident-prone opera queen, and his friend Paul, a chorus boy addicted to dance parties, decide to investigate. Being very amateur detectives, they incompetently lose the evidence and accuse all the wrong people in their quest to solve the puzzle. Part murder mystery, part farce, part contemporary satire, and even part romance, One Dead Diva is one lively read.
Scribe, Augustin Eugene Carlo Broschi: nouvelle historique
(Bruxelles: Miline, Cans, 1839) (Bruxelles: Societe Belge de Librairie, 1839) 177 p.
--- Novel about Farinelli.
Second, Alberic Les petits mysteres de l'Opera
(Paris : G. Kugelmann, 1844) [4], 320 p.
Siciliano, Sam The Angel of the opera: Sherlock Holmes meets the Phantom of the Opera
(New York: O. Penzler Books, 1994) 256 p.
--- Based on characters created by Sir Arthur Conan Doyle and Gaston Leroux.
Silbermann, Alphons Das imaginare Tagebuch des Herrn Jacques Offenbach (Berlin: Bote & Bock, 1960) 456 p.
Sinstadt, Gerald The Fidelio Score
(London: John Long, 1965)
--- An espionage novel set in the opera world. "From a nondescript office in Waterloo Road, British Intelligence runs its courier service and sends out semiprofessional agents, often with inadequate cover. Geoffrey Landon, free-lance music critic, is conscripted and, aware that his predecessor was murdered, goes to contact an Australian opera singer working on the continent. But the singer has disappeared, and Landon is caugt up in a chilling and tragic network of intrigue."
Smith, Kate Nolte Elegy for a Soprano
(New York: Villard Books, 1985) 277 p.
Sontag, Susan The volcano lover
(New York: Farrar, Straus, Giroux, 1992) 419 p.
Stacey, Susannah [pseudonym of Jill Staynes] A Knife At The Opera
(London: Bodley Head, 1988) 165 p. (New York : Summit Books, 1989) 165 p
--- Mystery.
Staynes, Jill - see under her pseudonym Stacey, Susannah
Stewart, Edward Ariana
(New York: Crown Publishers, 1984) 488 p. (New York: Crown Publishers,
19845) 466 p. (London: Macillan, 1985) 466 p.
(New York, Toronto: Paper Jacks, 1986) 534 p. (New York: Dell, 1992) 564 p.
= Translated into German by Hilde Linnert and published: (Zurich: Diana, 1989) 544 p. = Translated into Italian by Adriana Dell'Orto and published as: Una diva
(Milano: Sperling & Kupfer, 1988) 565 p.
Stuhlfaut, Lene Nur wer durch Feuer bricht
(Bayreuth: J. Steeger, 1952) 271 p.
Swarthout, Gladys Come soon, tomorrow : the story of a young singer (Philadelphia: The Blakiston company; 1943) viii p., 278p. (New York: Dodd, Mead & company, 1944) viii p., 278 p.
Thiess, Frank Caruso: Roman einer Stimme Buch 1: Caruso in Neapel: Die Legende einer Stimme Buch 2: Caruso in Sorrent
(Wien: K. H. Bischoff, 1942) 2 vol. (Hamburg: P. Zsolnay, 1942) 2 vol. (Hamburg: W. Kruger, 1946) 2 vol. (Stuttgart: Europaischer Buchklub, 1952) 2 vol. in 1
Buch 1: Caruso in Neapel: Die Legende einer Stimme Gutersloh?: Bertelsmann-Verlag, 1955) 317 p. Buch 2: Caruso in Sorrent
(Hamburg: W. Kruger, 1946) 455 p. (Wien: P. Zsolnay, 1949) 461 p. (Stuttgart: Fackel-Buchklub, 1950?) 601 p. (Frankfurt-am-Main: Fischer,
1963) 345 p.
Der Tenor von Trapani
(Leipzig: P. Reclam jun., 1942) 74 p.
= Translated into Italian by Anita Rho and published as: Il tenore di Trapani
(Torino: Frassinelli, 1942) 195 p.
Also about Caruso - probably an altered version from the 2 volume work.
Thorp, Roderick Jenny and Barnum: a novel of love
(Garden City, NY: Doubeday, 1981) 375 p. Apparently about Jenny Lind and
Phineas T. Barnum.
Tolstoy, Leo War and Peace Many editions and translations from the Russian: --- the heroine, Natasha, meets Anatole at the opera (and is in fact a mezzo herself) whom she has an affair of sorts with and ruins her relationship with her betrothed, Prince Andrei.
Traubel, Helen The Metropolitan Opera Murders
(New York: Simon & Schuster, 1951) 192 p. (New York: Avon, 1951) 158 p. (New York: Simon & Schuster, 1951) 234 p.
--- Everyone at the Met read to see if they were included.
Trollope, Anthony The Landleaguers
(London, Chatto & Windus, 1883) (Oxford ; New York: Oxford University Press, 1993) xxx, 444 p.
--- Subplot concerns a young American woman who travels to London to try to make it in opera.
Van Vechten, Carl Interpreters and interpretations
(New York: A.A. Knopf, 1917) 368p.
--- Several of these essays have appeared in the Bellman, the Musical quarterly, the Seven arts, and Vanity fair. "However all of these have been considerably altered and expanded."
Verne, Jules Une Fantasie du Docteur Ox
(Dr. Ox) (New York: French & European Publications, Inc. 1978)
--- Jules Verne's Le docteur Ox. The good "doctor" undertakes to vitalize a phlegmatic Flemish town (I won't spoil the end by specifying how), and the effect of his ministration is described partly in terms of a performance of LES HUGUENOTS, whose multi-hour longeurs usually have the audience asleep by the end. In this case, the performance grows more and more exciting, bringing the cheering audience to its feet when it ends, something like 2-1/2 hours after it began. The images by which Verne builds this picture are generally musical and make it evident that he was quite familiar with the opera. There is another, semi-operatic connection with the story. It
(as well as
Verne's _Voyage dans la lune_) was turned into an operetta by Jacques Offenbach.
Vine, Barbara No night is too long
(New York: Harmony Books, 1994) 315 p.
--- Alter ego of Ruth Rendell refers to "Keine Nacht dir zu lang" in DER ROSENKAVALIER.
Werfel, Franz Verdi: Roman der Oper
(Berlin: P. Zsolnay, 1924)
= Translated into English and published as: Verdi: a novel of the opera
(New York: Simon & Schuster, 1926)
Wharton, Edith Age of Innocence
(New York: Penguin, 1996) 330 p.
--- Uses the opera as an important background and the movie uses this to wonderful advantage in several key scenes. Newland Archer sees an old flame, Ellen Olenska, at the opera on the evening it is announced that he is engaged to be married to May Newland. The performance is "Faust". It all takes place in the boxes of the old Met.
Williams,Kirby The opera murders
(New York, C. Scribner's sons, 1933) 259 p.
Williamson, Audrey. Funeral march for Siegfried
(London: Elek, 1979)
--- My dim recollection of it is that it takes place during a Ring Cycle at Covent Garden at some point in the late 1950s. Williamson is the noted opera and ballet critic. She wrote two detective novels featuring her hero, Inspector Richard York who had two passions--horse racing and opera.
Yarbro, Chelsea Q. Music when sweet voices die
(New York: Putnam, 1979) 264 p.
Later retitled: False notes
(New York: Jove, 1991) 245 p.
--- Murder on stage at the San Francisco Opera House when the tenor singing Hoffmann dies of poison during the final scene. Canadian Ojibway medicine man, Charlie Spotted Moon, a lawyer practicing in San Francisco
(this really is fiction!), is asked by one of the Opera's benefactors to
look after the House's interests.
Gertrud Elisabeth Mara (née Schmeling)
The Mozart Brothers --- is a funny, detailed look behind the scenes of a modern-type production of DON GIOVANNI, with all the upheavals and "special exercises."
--- I remember reading one mystery in which there was a brief encounter with an aging never-was (not even a has-been) opera singer, who claimed that "The voice is such a fickle servant. I lost my portamento prematurely."
--- And there is this short story, is it by Conan Doyle, I do not remember, about a tenor having a love affair with the wife of a surgeon. The surgeon decides to get his revenge, has the tenor attacked in the street and brought to his office, and, there practices an operation that deprives him of the use of his vocal chords. The tenor wakes to find out he can not utter any sound.