A Night at the Opera
With my ratings & comments.
We all know that many of the best opera recordings are only available on CD, rather than DVD. But sometimes, even if I can't get to an opera house, I want a fuller experience--costumes, staging, lights. Here are 30+ productions, all available on home video.
Some of my ratings may look wrong (sometimes very wrong) to you. But I've tried to consider each production as a whole, not just the singing and orchestra. Unless the cinematography is really wonderful or really awful, I've mostly ignored it.
I've included a few recommendations for CDs, just for fun.
We all know that many of the best opera recordings are only available on CD, rather than DVD. But sometimes, even if I can't get to an opera house, I want a fuller experience--costumes, staging, lights. Here are 30+ productions, all available on home video.
Some of my ratings may look wrong (sometimes very wrong) to you. But I've tried to consider each production as a whole, not just the singing and orchestra. Unless the cinematography is really wonderful or really awful, I've mostly ignored it.
I've included a few recommendations for CDs, just for fun.
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- DirectorBrian LargeStarsMargaret PriceLuciano PavarottiStefania ToczyskaAn Egyptian military commander, Radamès, struggles to choose between his love for the enslaved Ethiopian princess Aida, and his loyalty to the Pharaoh. To complicate the story further, the Pharaoh's daughter Amneris is in love with Radamès, although he does not return her feelings.7/10
Gorgeous production design (alas, no elephants), and with a notably fine chorus. Price is fine, but both she and Pavarotti are outshone by a scintillating Toczyska. Overall, this is solid but not thrilling. - DirectorBrian LargeStarsJames LevineAprile MilloHarolyn Blackwell8/10
A fine if imperfect production. Pavarotti sings with ease; Millo is very very good rather than great; only Nucci's Renato disappointed me. Attractive period staging (yes, it's in Sweden as it should be), except for the strange dancing topiary. - DirectorErnst WildJean-Pierre PonnelleStarsHermann PreyTeresa BerganzaLuigi Alva6/10
An energetic and pretty production, although the direction is strictly amateur-hour. Berganza plays the minx to perfection. Prey is rather too lightweight, while Basilio's famous patter song comes off like a damp squib. Great work in the pit.
CD recommendation: 1982, Neville Mariner conducting, with Agnes Baltsa, Thomas Allen & Francisco Araiza (Decca 2002). - DirectorKirk BrowningStarsRenata ScottoMaralin NiskaLuciano PavarottiRodolfo and his friends are always broke or in debt, but that doesn't get in the way of fun or romance. When Rodolfo meets Mimi, it's love at first sight - but love is not enough for the penniless and sick.9/10
A triumph (despite the obvious fact that Pavarotti has the sniffles). Delicious singing sweeps us along through this simple tale. The staging and costumes are somewhat bland, though I do like the sets. Every "Musetta" after Nishkin has disappointed me--her Waltz here has never been bettered.
CD recommendations:
1972, Herbert von Karajan conducting, with Luciano Pavarotti, Mirella Freni, Rolando Panerai (Decca 1987)
1974, Sir Georg Solti conducting, with Plácido Domingo, Montserrat Caballé, Sherrill Milnes (Sony 2005). - DirectorBrian LargeStarsJames LevineAgnes BaltsaLeona MitchellGypsy Carmen picks soldier Don Jose as her latest conquest, costs him his career, takes up with a toreador while he's in jail, recruits him for the smuggling ring, and foresees her own death.9/10
First-class throughout. Baltsa, a less naturalistic actress than Ewing, is irresistable; Carreras is both dignified and touching; an electric Ramey brings the house down. The dancing is unusually good, and the finale is superbly staged.
CD recommendation: 1977, Claudio Abbado conducting, with Teresa Berganza, Plácido Domingo, Ileana Cotrubas, Sherrill Milnes (Deutsche Grammophon 2005) - DirectorRobin LoughStarsMaria EwingBarry McCauleyMarie McLaughlinLive stage performance of the opera 'Carmen', with minute set decors, realistic acting, intense and rich voices.7/10
This one has an almost Dickensian atmosphere: sordid surroundings, lotsa dirty straw, mobs of irritating children. Sultry Ewing acts with great conviction, though I was less impressed with her rather nasal vocals; McCauley's Don José is more pathetic than tragic, and his voice is sometimes coarse, while Holloway's Escamillo is never compelling. But I absolutely loved McLaughlin's tender Micaëla, sung with a sweet purity.
Warning: The sound on the DVD is atrocious (especially the crunches and crackling of people walking through straw). - DirectorOtto PremingerStarsHarry BelafonteDorothy DandridgePearl BaileyContemporary version of the Bizet opera, with new lyrics and an African-American cast.7/10
Great vocals of often-banal lyrics, and there's far too much dialogue. Dandridge is vibrant; Belafonte makes a handsome but not compelling tragic hero. The setting (a WWII-era army base and city) works well. This movie contains the single most erotic moment in all opera: Belafonte blowing on Dandridge's toes to dry her nail polish. - DirectorBrian LargeStarsPlácido DomingoLuciana SerraAgnes BaltsaWhile waiting for Stella to conclude her performance in the opera house next door, Hoffman recounts his 3 tragic loves: Olympia the mechanical doll, Giulietta the courtesan, and Antonia the young consumptive.8/10
The catalogue of sins against love--artificiality, greed, ambition--gets a nice work-out here. The design is dark and a little drab. The singing and interpretations are strong (though I wish "Stella" had sung all three of the lost loves). - DirectorJean-Pierre PonnelleStarsEdita GruberovaDelores ZieglerTeresa Stratas7/10
I should have liked this better: The costumes and sets are appealing, Gruberova, Stratas et al sing well, it's a fine opera. And yet somehow it failed to charm me. Possibly it's the pacing--these must be the slowest recitatives ever recorded. - DirectorBrian LargeStarsPeter SlikerBetsy NordenMirella FreniDon Carlo, crown prince of Spain, falls in love with Elisabeth of Valois, originally promised to him but later married to his father King Philip, as part of the terms of a peace treaty between France and Spain. Incited to treason against his father on behalf of the Flemish, and accused of adultery with the queen, Don Carlo is cast into prison. Escaping, he flees to the monastery of St. Just, where Elisabeth comes to bid him farewell. The lovers are surprised by the King and the Grand Inquisitor, but Don Carlo is protected from them when the ghostly Charles V emerges from the tomb and draws him into the cloister.10/10
Verdi's masterpiece done proud. Opulent costumes, intelligent staging, fabulous performances (except for Louis Quilico). Domingo's whingey, unstable yet wildly attractive Carlo is fascinating; Freni is lovely and dignified, a worthy heroine who made me care about her tragedy.
CD recommendation: 1970, Carlo Maria Giulini conducting, with Plácido Domingo, Montserrat Caballé, Shirley Verrett, Sherrill Milnes (EMI 2000) - DirectorClaus VillerStarsSamuel RameyAnna Tomowa-SintowGösta Winbergh8/10
Splendid cast in terrific production. Ramey revels elegantly in slime. Fulanetto, Battle, and Tomowa-Sittow are stand-outs; only Winberg gave a thin performance. Stark sets add to the semi-surreal atmosphere.
CD recommendation: 1985, Herbert von Karajan conducting, with Samuel Ramey, Anna Tomowa-Sintow, Agnes Baltsa, Kathleen Battle (Deutsche Grammophon 1986) - DirectorCarlo BattistoniStarsThomas AllenSergei KoptchakEdita Gruberova7/10
Allen is a splendidly self-deluded Giovanni; Gruberova a delicate, tragic Anna. Murray's Elvira, unfortunately, is not fiery enough, and Desderi's Leporello too is underpowered. An opinionated orchestra keeps the pace strong. Unmemorable sets and costumes. - DirectorGötz FriedrichStarsLeonie RysanekAstrid VarnayCatarina LigendzaRichard Strauss' classic opera version of the ancient Greek tragedy about the princess Elektra, who dreams of avenging her father Agamemnon's murder by his wife Clytemnestra and her lover.7/10
Rysanek sings insanity like nobody else. But the acting and staging were so stylized that I felt emotionally distanced throughout. The dreary postmodern sets are mostly invisible in murky lighting. The production starts at such an emotional extreme that there is nowhere much to go with it (a fault with Strauss more than this production). - DirectorBrian LargeStarsKathleen BattleLuciano PavarottiJuan PonsPeasant boy buys love potion to woo rich girl. When that fails, he enlists in the army for a cash bonus, and buys more potion.10/10
Battle is enchanting in every way; Pavarotti sings with great personality; Una furtiva lagrima is simply brilliant. Dara is the show's weak link vocally, but he's got the shtick down to an art, and his barcarolle is wonderfully done. The extremely pretty sets and costumes are like chalk drawings come to life--the perfect touch to set the mood for this joyous winner of a production.
CD recommendation: 1989, James Levine conducting, with Luciano Pavarotti, Kathleen Battle, Enzo Dara (Deutsche Grammophon 1990) - 2006– 3h 13mNot Rated8.9 (87)TV EpisodeDirectorBrian LargeStarsValery GergievMikhail BaryshnikovBeverly SillsOnegin is young, handsome, rich. And bored. After spurning the naive Tatyana's romantic advances, he publicly flirts with his best friend's fiancée merely to amuse himself, but the prank ends in a duel. Some people just don't get it.9/10
Stark setting (sort of Pushkin Meets Thornton Wilder's Our Town, with rather too many chairs and dried leaves) is effective in setting the mood for this somber production. Fleming never conveys the gawky awkwardness of the teen-aged heroine, but the opera is so well-sung it may not matter to you. - DirectorYves-André HubertStarsNicolai GeddaRoger SoyerMirella Freni8/10
Freni and Gedda really deserve a 10 for giving me a wonderful experience with an opera I don't particularly like. Everyone sings beautifully and acts up a storm. The simple sets and costumes work well; it's a pity the picture on my DVD is a bit fuzzy. - DirectorKirk BrowningStarsJoan SutherlandAlfredo KrausPablo ElviraEnrico wants sister Lucia to marry Arturo for political gain. Lucia loves his enemy Edgardo. When Edgardo is away, Enrico shows her a forged letter saying Edgardo is now married and to forget him. She marries Arturo, but tragedies compound.9/10
Sutherland and Kraus were past their vocal primes when this was filmed, and moreover I confess that it's disconcerting how much Sutherland here resembles Rupert Everett in drag. Nonetheless this is a hugely successful production: a splendid opening scene out on the moors, a glittering wedding sextet, an indubitably thrilling Mad Scene. Among the orchestral highlights: an exceptionally lovely harp solo preceding Lucia's first entrance. The costumes are a weird mix of periods (Sutherland is in mid-17th century get-up, while most of the cast is attired in Elizabethan, with bits of plaid pinned here & there), and the gothic sets are overly detailed.
CD recommendations: 1971, Richard Burgoyne conducting, with Joan Sutherland, Luciano Pavarotti, Sherrill Milnes, Nicolai Ghiaurov (Decca 1985)
1970, Thomas Schippers conducting, with Beverly Sills, Carlo Bergonzi, Piero Cappucillo (Westminster Legacy 2002) - 2006– Not Rated8.2 (52)TV EpisodeDirectorGary HalvorsonStarsMarco ArmiliatoNatalie DessayMichael MyersLucia's nerves are already rattled, she's seeing ghosts and all. When her brother forces her to marry and her real boyfriend shows up at the wedding, that does it - she goes right over the edge. Sorry Arturo, she's just not that into you.7/10
Frankly disappointing. The Victorian sets and costumes, while they make no sense whatsoever (was that the point?) are lovely; the Met orchestra under Marco Armiliato plays with energy and sensitivity. Kwiechien, Beczala (filling in for Rolando Villazon), and Abdrazakov are admirable, as is the chorus. But Netrebko simply does not deliver, either vocally (despite some lovely moments, she's actually flat more than once; coloratura is clearly an effort for her throughout the opera) or dramatically--her Lucia is more neurotic than insane, with minimal facial expression or bodily anguish. There's also some silly stage business (a comical photographer disrupting the famous sextet; the ghost of Lucia knifing Edgardo in the finale) that detracts from key moments. - DirectorThomas GrimmStarsThomas HampsonPaoletta MarrocuRoberto ScandiuzziMacbeth, the Thane of Glamis, receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by his wife, Macbeth murders his king and takes the throne for himself.7/10
Thomas Hampson and Paoletta Marrocu sing Verdi (not one of his greatest scores) at the Zurich Opernhaus. It's exceedingly well-sung and acted, but emotionally distant--possibly this was merely my problem with the postmodern staging. If you are one of those sadly deprived people who don't already love opera, this is probably not the right introduction to it--Zeffirelli's Otello is far more accessible. - DirectorFrédéric MitterrandStarsYing HuangRichard TroxellNing LiangThe story of a young geisha who falls madly in love with an american captain that travels all around the world collecting hearts.6/10
Huang's voice is distinctly thin, but sweet. The other roles are fairly well cast, and Liang is excellent as the moral center. I find that realistic staging is a mistake for this ultra-faux piece of japonais, but the production is very pretty. My problem here is mostly with the direction, which is both amateurish and intrusive--and I certainly did not need to hear Puccini re-scored with live crickets.
CD recommendation: 1966, Sir John Barbirolli conducting, with Renata Scotto, Carlo Bergonzi, Rolando Panerai (EMI 2002) - DirectorDave HeatherStarsIleana CotrubasJames BowmanRyland DaviesMistaken identity, unrequited love, and the supernatural are combined in Shakespeare's classic set in the woods of Greece on a moonlit night.7/10
A Glyndebourne Festival production of Britten's opera, with a fine cast plus pretty sets and costumes. If you like this opera, this one should work for you. I confess that--given an Oberon written for contra-tenor, plus a few sopranos and a whole chorus of prepubescent boys gallumphing about as fairies--the score is a bit too squeaky for me. - DirectorPierre JourdanStarsMontserrat CaballéJon VickersJosephine Veasey8/10
This is the famously amateurish outdoor recording. Some find that the technical problems--the disruptive mistral winds swamping the microphones, the occasionally out-of-focus camera--add atmosphere. I wanted to hear every note, especially from the superb Caballé, because the performances are rousing. Never quite leaps into believability, yet the finale is touching and effective. - DirectorDave HeatherStarsKnut SkramIleana CotrubasBenjamin Luxon8/10
With such a cast, this should have been exhilarating. But Skram lacks charisma as the arch-schemer, and is outshone by Luxon's naughty Count. The ladies balance rather better. Sets, costumes, and blocking are bland and sometimes clumsy. Overall, magic was in short supply here--except for the Act III sextet.
CD recommendation: 1981, Sir Georg Solti conducting, with Thomas Allen, Kiri Te Kanawa, Samuel Ramey, Lucia Popp (Decca 1983) - DirectorFranco ZeffirelliStarsPlácido DomingoKatia RicciarelliJustino DíazVerdi's famous opera is brought to life in this production. The immortal tale of the noble Moor and his beautiful young wife, and of his lieutenant, whose jealousy and lust for power lead him to commit the ultimate treason.8/10
Shakespeare goes to the opera, with excellent results. Ably sung and acted; Domingo is in fine voice here. A first-class production of Verdi's work, despite extensive small trims to the score. - StarsAlison HagleyNeill ArcherDonald Maxwell8/10
The opera is so strange in form, and so emotionally abstract, that it's difficult for me assess. This production is quite pretty; the visual symbolism, while obvious, is not too distracting; it's well-sung. The orchestra's pace was a mite slow. - DirectorWilford LeachStarsKevin KlineAngela LansburyLinda RonstadtAfter a young man leaves a band of pirates, hilarity ensues.7/10
Is this a wonderfully sung production? No. But it's colourful, frenetic, and great fun. - DirectorJean-Pierre PonnelleStarsIngvar WixellEdita GruberovaLuciano PavarottiThe Duke lives the high life. The court jester taunts too well. Revenge has unintended consequences both times it is attempted.8/10
I found this exciting, both in staging and singing (the opening orgy is perhaps gamier than many are willing to accept). Gruberova sings like an angel, and she made me believe in her self-sacrifice; Pavarotti's acting is stronger than usual here, a kind of Henry VIII on drugs. Wixell is outstanding in melding complexities into a unified character. The direction is competent but not memorable.
CD recommendation: 1978, Julio Rudel conducting, with Beverly Sills, Alfredo Kraus, Sherrill Milnes (EMI 1996) - DirectorKarlheinz HundorfStarsGwyneth JonesManfred JungwirthBrigitte Fassbaender10/10
Jones is an exquisite, tenderly cynical Marschallin, matched in effectiveness by the radiant Popp. Fassbaender sings well, but is less satisfying as an actress (or should I say actor?). Sumptuous costumes and strong pacing carry it triumphantly through. The cinematography here is unusually good for an opera staged for the camera. Not to be missed. - DirectorDerek BaileyPeter HallStarsMaria EwingMichael DevlinKenneth Riegel7/10
A solid production that nonetheless failed to move me. I'm determined to try this one again, though, to see if it was the music that I failed to connect with, or the show. - 1977– 2h 21m9.2 (36)TV EpisodeDirectorBrian LargeStarsTeresa StratasPlácido DomingoLuciano PavarottiA jealous husband and his wife in a theatrical company.8/10
The Il Tabarro is a good production of a distinctly gloomy piece, done here troppo verismo. Pons, given the best of Puccini's vocals, is very strong; Stratas was rather screechy. Domingo is not powerful here, but has some fine moments.
I was more impressed by the Pagliacci. The cast is solid, and the melodrama (sobs notwithstanding) satisfying. Amara has the phoniest opera laugh of all time, but I still like her. - DirectorGianfranco De BosioStarsRaina KabaivanskaPlácido DomingoSherrill MilnesPuccini's opera shot in the actual locations of the action in Rome: Tosca and Cavaradossi are in love, but the tyrant Scarpia also longs for Tosca. While searching for an opponent on the run, he arrests Cavaradossi and blackmails Tosca.9/10
Exquisitely staged amidst wonderful Roman locations. Domingo is in fine form, especially in E lucevan le stelle. Milnes, too, impresses, and has a great death scene. Kabaivanska's voice is a tad matronly, powerful when needed, and while not a great actress, she puts the emotions across in a sort of Alla Nazimova manner. The production is filmed with effective simplicity and almost too much good taste.
CD recommendations: 1953, Victor Sabata conducting, with Maria Callas, Giuseppe di Stefano, Tito Gobbi (EMI 2003)
1990, Giuseppe Sinopoli conducting, with Mirella Freni, Plácido Domingo, Samuel Ramey, Bryn Terfel (Deutsche Grammophon 1992) - DirectorFranco ZeffirelliStarsTeresa StratasPlácido DomingoCornell MacNeilVioletta meets Alfredo and quickly falls for him. After the lovers run away together, they live in bliss for a short time. However, Alfredo's father, Giorgio, starts to interfere, concerned that Violetta's bad reputation will affect the marriage prospects of Alfredo's sister. Violetta reluctantly leaves Alfredo, but his love is so strong that it leads him to actions that have tragic consequences.8/10
This was my first opera as well as my first opera-on-film, and I was emotionally overwhelmed at the time. Looking back, I find it's more of a mixed bag: Stratas is unimpressive in the upper registers, the settings and costumes are sometimes over-the-top; and I'm not happy about the final scene. But Domingo is wonderful despite the weird make-up, and, overall, this still works extremely well for me.
CD recommendation: 1971, Aldo Ceccato conducting, with Beverly Sills, Nicolai Gedda, Rolando Panerai (EMI 1988) - DirectorMaria Paola LongobardoStarsAngela GheorghiuRamón VargasRoberto FrontaliIn this live performance of Giuseppe Verdi's opera, Violetta, a courtesan much wooed by Parisian society, organizes a grand party that is attended, amongst others, by the young Alfredo Germont. He confesses his feelings to Violetta, who is already suffering from consumption. She vacillates between genuine affection and a realistic assessment of her situation as a "fallen woman", which precludes any lasting relationship with a man.9/10
Traditional staging, with a radiant Gheorghiu at the center. Vargas, too, is in admirable voice; his acting is not of quite the same quality. Maazel paces well in the pit. A very very satisfying production. - DirectorBrian LargeStarsAnna NetrebkoHelene SchneidermanDiane PilcherLa Traviata stands or falls on its lead singers and in Norah Amsellem and Rolando Villazon this 2005 Salzburg Festival performance has a pair whose electric interactions and brilliant singing are irresistible. If Amsellem can't quite provide the vocal bloom of the great Violettas of the past, hers is a lovely voice used with intelligence and dramatic intensity and she has the coloratura chops to deliver her Act I showpieces with flair. Villazon's tenor has ping on top, terrific color, and an impressive range of rubato, dynamic shadings, and interesting phrasing that makes Alfredo's music sound newly minted. The Germont is Thomas Hampson, no Verdi baritone but an astute singer and actor. Chorus and smaller roles are fine, the orchestra first-rate. Carlo Rizzi has odd notions about the music (usually too fast, sometimes way too slow) but this Traviata triumphs despite his conducting.7/10
Why the low rating? Because it's merely sung well, not brilliantly. And the postmodern staging was too too precious for words. - DirectorKirk BrowningStarsJames LevineÉva MartonPlácido Domingo9/10
Marton has a powerful and effective (though not pretty) voice; even Domingo--who sings here with great beauty--was occasionally swamped by the orchestra. Mitchell is warm and infinitely lovable, giving her death scene great emotional impact. The supporting cast is strong, and the costuming is fanciful and gorgeous; the sets were somewhat awkward. I enjoy this immensely.
CD recommendation: 1965, Francesco Molinari-Pradelli conducting, with Birgit Nilsson, Franco Corelli, Renata Scotto (EMI 1988) - DirectorBrian LargeStarsJames MorrisSiegfried JerusalemEkkehard Wlaschiha'Das Rheingold' tells the story about Alberich's theft of the gold from the Rhine, the forging of the Ring of power and sets off a cascade of events that further develop in the subsequent operas of the Ring Cycle.8/10
Not the most visually appealing of productions. But it's solidly sung; the orchestra is remarkably good, with strong forward momentum; and there's plenty of dry ice and lighting effects to create atmosphere. I failed to connect with any of the characters except Loge, which I blame mostly on Wagner. - DirectorBrian LargeStarsHildegard BehrensJames MorrisJessye NormanIn the second part of Richard Wagner's Ring Cycle, two mortal strangers meet, pulled together by Wotan, king of the gods, until a decree from his wife forces his Valkyrie daughter Brünnhilde to step in and try to save the mortals.7/10
The saga continues. Much good stuff from noble Norman, perky Behrens (who is not always sufficiently powerful), and soulful Morris. - DirectorBrian LargeStarsSiegfried JerusalemHildegard BehrensJames MorrisIn the third opera of Wagner's Ring Cycle, a young man named Siegfried, raised by the dwarf Mime, finds the pieces of a magic sword and goes on a quest to experience fear for the first time, all part of a plan set forth by the god Wotan.8/10
Jerusalem--looking not unlike Fess Parker--brings a welcome energy into this installment. Behrens has an especially lovely awakening. But somehow the marathon duet didn't pack quite the wallop I expected. - DirectorBrian LargeStarsHildegard BehrensSiegfried JerusalemMatti SalminenIn the final opera of Richard Wagner's Ring Cycle, the lovers Siegfried and Brünnhilde are torn apart by a pair of royal siblings who use magic and deception to gain their love and the magic ring.7/10
A satisfying conclusion, though it felt rather a long time coming. - DirectorJon ElseStarsKenneth 'Spike' KirklandWith its four operas, seventeen-hour running time and months of rehearsal, Wagner's "Ring Cycle" is a daunting undertaking for any opera company. Jon Else goes backstage to show this rare event entirely from the point of view of union stagehands at the San Francisco Opera.7/10
An enjoyable if sometimes confusing look backstage as the San Francisco Opera mounts the Ring Cycle. There's no absurdly quasi-religious reverence here for Wagner or about the work the company is doing. But you may respect the singers, orchestra, and crew rather more after viewing this. Worth a look if only for the hysterically funny plot summaries provided by stagehands at odd moments in between shifting scenery and playing poker. - DirectorChuck JonesStarsMel BlancArthur Q. BryanElmer Fudd is again hunting rabbits - only this time it's an opera. Wagner's Siegfried with Elmer as the titular hero and Bugs as Brunnhilde. They sing, they dance, they eat the scenery.8/10
Featuring a lovelorn hunter, his prey, and lots of small excerpts from Wagner's operas, especially the Ring. My favorite part is the interpretation of the Venusberg ballet. - DirectorSam WoodEdmund GouldingStarsGroucho MarxChico MarxHarpo MarxA sly business manager and the wacky friends of two opera singers in Italy help them achieve success in America while humiliating their stuffy and snobbish enemies.8/10
If you don't think this is a hoot, you don't deserve to go to the opera.