operagoer


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op·er·a·go·er

 (ŏp′ər-ə-gō′ər, ŏp′rə-)
n.
One who attends operas.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.operagoer - a patron of the opera
frequenter, patron - a regular customer
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References in periodicals archive ?
Baker states his purpose as providing a "concise, lucid exposition of operatic production" to satisfy the "fascination with 'backstage at the opera'" of the common operagoer or performer (p.
Catan's later operas incorporate similar personal transformations, in different settings and through different triggers, but they provide an uplifting and transcendent experience for the operagoer.
As a result, the average contemporary operagoer is likely to have actually seen only three of the many operas discussed here: L'incoronazione di Poppea, Handel's Giulio Cesare, and Mozart's setting of an adapted version of Metastasio's highly popular La clemenza di Tito, as the opera seria to celebrate the coronation of Leopold II as king of Bohemia in 1791.
McEwan describes himself as a music-lover, a flautist but not a frequent operagoer.
Mention the name Eskandani to the average North American operagoer and you're likely--for the moment--to provoke a quizzical furrowing of the brow.
The interested operagoer can read opera guides of many different types, from real nuts-and-bolts guides to subtly subversive histories that have been the subject of some controversy.
His book is designed to aid the operagoer of the twenty-first century, whom, it is expected, will be sitting in an opera house with projected super- or subtitles.
Operagoer Sunny Golombek of Redondo Beach said the gowns reminded her of the '30s and old Hollywood, while Janie Snyder of Los Angeles found the tuxedos very comfortable-looking and timeless.
96), or that an avid operagoer could spend most of his time in the theater in amorous pursuits or trading gossip while the opera was on stage (pp.
Her claim, mentioned at the beginning of this review, that estrangement is the product of Brecht's own experiences as an operagoer, is asserted rather than argued, and in this context it proves highly problematic as well: Unless Brecht developed estrangement as a reaction to Wagner (or developed it from entirely different antecedents), one is left with a contradiction, since the practice of staging canonical operas in non-literal ways is "comparatively recent"; Calico identifies Wieland Wagner and the emergence of the "director's opera" in the 1970s as examples (p.
The opera was generally dismissed as an inept regional attempt at the new Italian verismo that had taken over the world's opera stages, a Cavalleria Rusticana with no memorable tunes, a slice of repressed Central European village life that could say nothing to the lives of 20th-century urban operagoers.