From Publishers Weekly
Opera lovers are notoriously argumentative, so anyone drawing up a list of the "most important" works in the medium should expect to generate plenty of debate. Tommasini, chief music critic for the New York Times, recognizes that some of the selections in this opinionated, and admittedly quirky, guidebook will prompt second-guessing, but he makes the case for each of them with passion and conviction. The result is a collection of original essays that should prove both illuminating to opera novices and thought provoking to long-time fans. As one would expect in a guidebook, Tommasini presents the pillars of the repertory—including stories about their composers, details of their plots and comments on their performance history—in a style that will appeal to informed readers without scaring off those whose knowledge of the music is limited. In addition, for readers who wish to explore further, Tommasini recommends CDs of each opera (although he may endorse the recordings of controversial soprano Maria Callas a bit too often for some tastes). Those familiar with Tommasini’s work in the Times will know that he is a strong advocate of neglected 20th century works and of music by important contemporary composers. So it’s no surprise that this book goes beyond the standards and includes a significant number of modern operas. Tommasini discusses no fewer than six works by Benjamin Britten and four by Sergey Prokofiev, as well as operas by such marginal figures as Ferruccio Busoni and Hugo Weisgall and very recent pieces by Poul Ruders, György Ligeti, Judith Weir and John Adams. Traditionalists may bristle, but Tommasini is determined to get his readers to take chances and treat opera as a living art. Some readers will no doubt wonder whether Aaron Copland’s relatively obscure The Tender Land, Stephen Sondheim’s Broadway hit Sweeney Todd or Prokofiev’s bit of Soviet agitprop Semyon Kotko belong in an opera Top 100. Others may scratch their heads over Tommasini’s decision to include Charles Gounod’s "Romeo and Juliet" but skip his ever-popular Faust. But then, such arguments are part of what makes being an opera fan so much fun in the first place.Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
*Starred Review* There's no question that opera can be intimidating to the uninitiated. Yet opera is an incredibly beautiful spectacle, and now, in the age of supertitles, which allow the audience to "read" along with what the performers are singing, it has become an easy and comfortable art form for even first timers. For newbies needing listening guidance or even veteran operagoers who simply like to read about opera, Tommasini, the chief classical music reviewer for the New York Times and author of Virgil Thompson: Composer on the Aisle (1997), supplies a wonderfully helpful and engaging collection of little essays, each one approximately three pages in length, on his choices for the 100 most significant operas. His range is from old standbys in the repertoire, including Mozart's Don Giovanni and Donizetti's Lucia di Lammermoor, to such contemporary works as John Adams' Nixon in China. In each essay, Tommasini cogently discusses the composer and the history of the opera's composition, presents an overview of the plot, and highlights notable performances in the opera's history; he also cites what he considers the best recordings. Brad Hooper
Copyright © American Library Association. All rights reserved

Book Description
An insightful, provocative selection of the best opera performances, chosen by The New York Times's chief classical music critic in one hundred original essays

Opera intertwines the drama of the theater with the powerful emotionality of music. In this magical and illuminating guide to the best opera recordings, Anthony Tommasini delves into the ways story and music interweave to create the subtle but telling moments that move us.

Tommasini brings to life the rich history of opera performance and the singers and conductors who, over the past century, have come to own the music. He chooses masterworks, such as Arturo Toscanini's La Boheme, captured for posterity fifty years after he conducted the opera's 1896 premiere for Puccini, and Leontyne Price's Leonora in Il Trovatore, an encapsulation of the ideal Verdi soprano. For aficionados and newcomers alike, Tommasini is the perfect guide to the passions and playfulness of the opera.


About the Author
Anthony Tommasini is the chief classical music critic of The New York Times, author of an acclaimed biography of the composer Virgil Thomson, and a pianist. He lives in New York City.

FROM THE PUBLISHER