Opera has been a quarry for theorists ever since it began, and many of the theories were developed by the best talents involved - geniuses whose words add enormously to our appreciation of the art form. Also, opera in theory and in practice has been chewed over and digested by critics as well as by singers, directors and impresarios, recalling their professional lives - from Michael Kelly, who claimed to be Mozart's favourite comic tenor, on. Eduard Hanslick, Liegh Hunt, Debussy, Thomas Love Peacock, Virgil Thomson all did their stints (long and short) as reporters on achievement in the world of opera. Some of this material is unavailable in English elsewhere. Opera in fiction is an equally rich field - from Tolstoy to Heinrich Mann to Proust to Thackeray to Alan Hollinghurst.In The Faber Book of Opera, Tom Sutcliffe covers the written record of opera in theory, in practice, in review and in fiction: an anthology of literary gems put together with substantial considered writing, drawn from the prime sources.

About the Author

Tom Sutcliffe's musical career started as a boy chorister at Chichester Cathedral. After studying at Oxford University, he was a professional countertenor for six years, making his opera d�but in The Coronation of Poppea at Darmstadt in 1970, having worked as a soloist with Nikolaus Harnoncourt. He then edited the magazine Music and Musicians, and worked for the Guardian for 23 years - most notably as opera critic.$$$A regular broadcaster on radio and television, he has also written about opera in Vogue magazine and was British correspondent of Opera News, New York, as well as contributing to Opera Now and other specialist music journals. In 1998 he was dramaturg on a new production of The Turn of the Screw at the Monnaie in Brussels. He became opera critic of the Evening Standard in 1996.

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