Adelaide
Set in 951, the opera concerns Adelaide of Italy after the death of her husband Lothair II. She is forced by Berengar II to marry his son Adalbert.
Operas
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Clear filtersAdelaide di Borgogna
After Berengario usurps the Italian crown and tries to force Adelaide to marry his son, she takes refuge in Canossa and asks Otto for help, offering to marry him if he restores her royal rights. Otto crosses the Alps, frees her, marries her, and takes her to Germany.
Adelaide di Guesclino
In Brittany during the Hundred Years' War, Carlo, Duke of Vendôme, and his brother Ernesto, Duke of Nemours, support opposing sides. Ernesto and the Breton noblewoman Adelaide love one another, but Carlo is also in love with her and, in jealous anger, orders Ernesto's death. Overcome by remorse, Carlo learns to his relief that the order was not carried out.
Adelia
After Duke Carlo returns from battle, rumors accuse Count Oliviero of seducing Adelia, daughter of the duke’s archer Arnoldo. Carlo sentences Oliviero to death, but the others prevent the execution; the opera ends with general agreement to Adelia and Oliviero’s marriage.
Adelina
After returning to her home near Zürich, Adelina fears telling her father that she has had a child outside marriage. Her neighbor Simone advises her to send an anonymous letter, and the child’s father, Erneville, arrives and is reunited with her. Varner considers leaving town to avoid disgrace, but Simone helps reconcile the family; Adelina and Erneville marry.
Adelson e Salvini
In seventeenth-century Ireland, Salvini, an Italian painter staying at Lord Adelson’s castle, loves Adelson’s fiancée Nelly, while Fanny secretly loves Salvini. Salvini withholds and misrepresents a letter from Adelson, and an outlaw named Struley exploits Salvini’s jealousy in a plot to kidnap Nelly. In one ending, Nelly is saved and Salvini leaves for Rome before returning to marry Fanny; an earlier ending has Salvini believe he has killed Nelly before learning she is unharmed.
Adina
A one-act Italian farsa on the theme of an abduction from a seraglio.
Admeto, re di Tessaglia
When Admeto is dying, his wife Alceste sacrifices herself to save him; Hercules descends to Hades and brings her back. Meanwhile, the abandoned Trojan princess Antigona returns in disguise, while jealousy and rival claims to Admeto complicate the household until Antigona reunites him with Alceste.
Adriana Lecouvreur
The actress Adriana Lecouvreur loves Maurizio, Count of Saxony, who is also pursued by the Princess de Bouillon. The Princess becomes Adriana’s rival and sends her poisoned violets. Adriana kisses the flowers and dies in Maurizio’s arms.
Adriana Mater
In an unnamed country caught in civil war, Adriana, her son Yonas and her sister Refka face the consequences of a rape years earlier by Tsargo, a soldier from their village. As Yonas grows up, Adriana fears he may inherit his father’s violence rather than his mother’s gentleness.
Adriano in Siria
In Antioch during Hadrian’s early reign, the emperor loves Parthian princess Emirena, who loves Farnaspe. Hadrian’s feelings test his virtue before his marriage to Sabina, to whom he was already engaged. Emirena’s father Osroa attempts to kill Hadrian by setting a fire. Osroa is ultimately spared, Farnaspe marries Emirena, and Hadrian renews his engagement to Sabina.
Adriano in Siria
In ancient Antioch, Emperor Adriano falls in love with the captured Parthian princess Emirena, who is betrothed to Farnaspe, while Adriano is engaged to Sabina. After plots, attempted escapes, and imprisonment, Adriano restores Osroa’s kingdom, allows Farnaspe and Emirena to marry, and chooses Sabina.
Adriano in Siria
A three-act opera seria featuring the Roman emperor Adriano, his beloved Emirena, her betrothed Farnaspe, and Sabina, who is betrothed to Adriano.
Adrien
Adrien defeats the Parthians and falls in love with captive princess Émirène, though he is engaged to Sabine. He ultimately frees Émirène’s father and allows her to marry Prince Pharnaspe; after becoming emperor, Adrien asks Sabine to become his empress and makes peace with the Parthians.
Adrien, empereur de Rome
The original version of Méhul and Hoffmann’s opera retained Hadrian’s imperial title and included a triumphal scene. Authorities banned its planned 1792 performance amid political tensions; Méhul later revised the work, removed “emperor” from the title, and cut the triumphal march.
Adèle de Ponthieu
A three-act tragédie lyrique based on Pierre-Antoine de La Place’s 1757 tragedy, featuring Adèle, daughter of the Count of Ponthieu, and her confidante Alise.
Adèle de Ponthieu
A three-act tragédie lyrique featuring Adèle, daughter of the Count of Ponthieu, and Guillaume III, the Count.
After All!
Selworthy returns from the Americas hoping to reunite with Perdita, only to learn that she married his old friend Pennyfather. Once he hears how Perdita has changed, Selworthy decides he escaped an unhappy match and forgives his friend.
Agamemnon
Werder's opera is based on Aeschylus's Oresteia through Gilbert Murray's English translation. Its listed characters are King Agamemnon, Aegisthus, Clytemnestra, and Cassandra.
Agnes Sorel
À Beckett's English-language operatic farce is loosely based on the life of Agnès Sorel, mistress of Charles VII of France. It was the first production at John Braham's St James's Theatre in London.
Agnes von Hohenstaufen
Agnes, cousin of Emperor Henry VI, is engaged to Henry Palatinus, son of the Welf leader Henry the Lion. War and the emperor’s decision to marry her to the French king threaten their union. Henry arrives in disguise, is condemned and imprisoned, but escapes to marry Agnes. Captured again, he mortally wounds the French ambassador in a duel, revealing him to be King Philip Augustus. Henry the Lion arrives and submits to the emperor, who blesses the couple and calls for unity.
Agnese
A semi-serious Italian opera originally composed for private and amateur performance near Parma.
Agni
In a legendary world where humans suffer in darkness and cold, the gods refuse to share fire. Ginipathi, a god who sympathizes with humanity, sends his sister, the fire goddess, to give fire to people. Soma, a young hunter and community leader, sets out to find her. Fire brings warmth, seasonal change, harvests, and tools, but the gods punish Ginipathi. When a boy reports his torture, Soma urges the people to help; they refuse, and Soma and the fire goddess go to the mountains alone. The finale questions the people’s indifference to their heroes.
Agrippina
After believing Emperor Claudius has died, Agrippina plots to place her son Nero on the throne. When Claudius returns alive and promises the succession to Otho, Agrippina and Poppaea manipulate the emperor and their rivals through successive deceptions. The plots are exposed and redirected; Claudius ultimately gives Poppaea to Otho and the throne to Nero.
Aida
Aida, an enslaved Ethiopian princess, loves the Egyptian commander Radamès, who returns her love; the Egyptian princess Amneris also loves him. After Radamès defeats the Ethiopians, Aida’s father Amonasro is captured and reveals his identity. Radamès frees the prisoners but becomes engaged to Amneris. Amonasro persuades Aida to learn the army’s route from Radamès; when he reveals it, Radamès is arrested for treason. He is sentenced to be buried alive, and Aida hides in his tomb so they can die together.
Ainadamar
As actress Margarita Xirgu prepares to perform in Montevideo, she recalls her friendship with Federico García Lorca and her regret at being unable to persuade him to leave Spain. In her memories, Lorca is arrested and executed by Falangists. As Xirgu dies, a vision of Lorca thanks her for preserving his spirit through her performances.
Aino
Väinö, son of Luonnotar, wishes to experience mortal pleasures and meets Aino, who personifies nature. They agree to marry, but Aino’s brother Jouko opposes the match and challenges Väinö to a singing contest, which he loses. During the wedding preparations Väinö makes a kantele from a birch tree. Aino disappears and, in the final scene, dives into the sea as water nymphs sing.
Ajax
A prologue and five-act tragédie en musique by Toussaint Bertin de la Doué, with a libretto by Mennesson.
Akhnaten
After the funeral of Amenhotep III, Akhnaten is crowned and redirects worship toward the Aten, establishing a new city at Akhetaten with Nefertiti and their family. As the royal household turns inward, appeals for aid from the city’s threatened inhabitants go unanswered. Invaders destroy Akhetaten and kill the royal family; Tutankhamun later restores the old gods.
Al gran sole carico d’amore
In two non-linear parts, women associated with the Paris Commune of 1871 and the Russian Revolution of 1905 perish while attempting to stop the violence of their times.
Aladdin
A Danish opera based on the Aladdin story, with roles including Aladdin, Gulnare, Noureddin, the Sultan, a vizier and two genies. The entry does not describe the plot.
Aladdin
Kurt Atterberg’s opera adapts the tale of Aladdin’s Magic Lamp from One Thousand and One Nights.
Alahor in Granata
A two-act Italian opera by Gaetano Donizetti, set in medieval Granada and based on Florian’s Gonzalve de Cordoue.
Alban
In Roman Verulamium, a Christian priest escapes arrest and seeks refuge at Alban’s home. Alban is preparing to move his family to Sarum, but shelters the priest and is moved by his message. When soldiers return, Alban disguises himself in the priest’s clothes and is arrested in his place. At trial, the governor’s wife presses for an immediate death sentence despite Claudia’s plea for forgiveness. The executioner refuses to kill Alban and is put to death; another soldier carries out the execution.
Albert Herring
In the Suffolk town of Loxford, the May Day committee chooses timid greengrocer Albert Herring as May King because it considers none of the girls worthy of May Queen. After Sid and Nancy secretly spike his lemonade, Albert leaves town for an adventure. He returns the next morning, rejects the committee’s expectations, and stands up to his mother.
Albion and Albanius
A mythological and Arthurian allegory, the opera represents the Stuart dynasty and was written as a tribute to Charles II, later intended to apply to James II.
Alceste
King Admeto is gravely ill, and the oracle declares that he can be saved only if another person voluntarily dies in his place. His wife Alceste resolves to sacrifice herself. Admeto recovers, but when he learns what Alceste has done, he rushes to the temple to appeal to the gods. The gods do not revoke their decision, and Admeto decides to follow Alceste into death. Apollo appears and, in reward for their steadfast love, gives them both their lives.
Alceste
A five-act German opera created for the Seyler Theatre Company.
Alceste (Gresnick)
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Antoine-Frédéric Gresnick. Premiered on 23 December 1786 at the King’s Theatre, Haymarket, London; libretto adapted by Carlo Francesco Badini as Alceste. No version-specific plot is supplied.
Alceste (Lampugnani)
A distinct setting or adaptation of Pietro Metastasio’s Demetrio libretto by Giovanni Battista Lampugnani. Premiered on 28 April 1744 at the King’s Theatre, Haymarket, London; libretto adapted by Paolo Antonio Rolli as Alceste. No version-specific plot is supplied.
Alceste, ou Le triomphe d’Alcide
Alceste is abducted by Lycomedes, but Alcide and her husband Admète rescue her. Admète is mortally wounded, and Apollo allows him to live only if someone dies in his place; Alceste sacrifices herself. Alcide descends to Hades and brings her back, but then relinquishes his claim so she can return to Admète.
Alcide
Dmitry Bortniansky’s 1778 Italian-language opera draws on classical mythology.
Alcides, ou Le triomphe d’Hercule
A prologue and five-act tragédie en musique.
Alcina
On the island of the sorceress Alcina, Ruggiero forgets his former life and falls under her spell. His fiancée Bradamante, disguised as her brother Ricciardo, arrives with his tutor Melisso to free him and Alcina’s transformed captives. Morgana falls for Ricciardo, while Alcina grows genuinely attached to Ruggiero. Melisso uses a magic ring to restore Ruggiero’s memory, and he prepares to escape. Bradamante and Ruggiero destroy the source of Alcina’s magic; her palace collapses, her spells end, and the captives return to human form, including Oberto’s father Astolfo.
Alcine
The enchantress Alcine loves the paladin Astolphe. The opera is based on cantos IV, VI, and VII of Ariosto’s Orlando furioso.
Alcyone
Ceyx, king of Trachis, and Alcyone are to marry, but Phorbas uses magic to disrupt the wedding. He sends Ceyx on a voyage intended to kill him, while Peleus, who also loves Alcyone, is left troubled by the plot. Alcyone prays for Ceyx’s safe return and dreams of a ship in a storm. When a body washes ashore, she believes it is Ceyx and stabs herself. Neptune restores the lovers to life and appoints them to calm the seas.
Aleko
A band of Gypsies gathers by a river, where an old man recounts how his lover left him. Aleko, who has joined the group, condemns the old man for not taking revenge. Zemfira, the old man’s daughter and Aleko’s partner, loves a younger Gypsy and rejects Aleko’s possessiveness. Aleko finds them together and kills them; the community spares him but banishes him.
Aleksis Kivi
The opera deals with episodes in the life of Finnish national writer Aleksis Kivi.
Alessandro
During Alexander the Great’s campaign in India, two princesses, Lisaura and Rossane, vie for his love as he vacillates between them and proclaims himself a son of Jupiter. After he spares his protesting general Clito, conspirators attempt to overthrow him. Their revolt fails, and Alessandro chooses Rossane while King Tassile is united with Lisaura.
Alessandro Severo
A pasticcio opera based on the story of the Roman emperor Alexander Severus, using music from several earlier Handel operas.
Alessandro Stradella
Stradella and Leonore elope from her guardian Bassi, who wants her to marry him. Bassi hires two bandits to kill Stradella, but Stradella’s compassion persuades them to abandon the plan. When Bassi renews the plot, a hymn moves all three conspirators to repent, and Stradella and Leonore forgive them.
Alessandro nelle Indie
An opera seria about Alexander the Great in India, with characters including Cleofide, Poro, and Gandarte.
Alessandro nell’Indie (Antonio Bioni)
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Antonio Bioni. A setting performed during the Breslau Carnival. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
Alessandro nell’Indie (Antonio Sacchini)
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Antonio Sacchini. Sacchini’s first setting, performed in Venice at Ascension and later in Turin in 1766. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
Alessandro nell’Indie (Baldassare Galuppi)
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Baldassare Galuppi. Galuppi’s first setting, performed during the Mantua Carnival. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
Alessandro nell’Indie (Carl Heinrich Graun)
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Carl Heinrich Graun. A setting titled Alessandro e Poro, premiered in Berlin on 21 December. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
Alessandro nell’Indie (Christoph Willibald Gluck)
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Christoph Willibald Gluck. A setting titled Poro, premiered in Turin on 26 December; the source says only the sinfonia, four arias, and a duet survive. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
Alessandro nell’Indie (Davide Perez)
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Davide Perez. Perez’s first setting, performed during the Genoa Carnival and later in Milan in 1752. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
Alessandro nell’Indie (Domenico Sarro)
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Domenico Sarro. A setting premiered in Naples on 4 November and revived there in 1743. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
Alessandro nell’Indie (Egidio Duni)
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Egidio Duni. A setting reported for the Prato Carnival; the source flags authorship as doubtful. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
Alessandro nell’Indie (Francesco Araja)
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Francesco Araja. A setting premiered in St Petersburg between 18 and 29 December. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
Alessandro nell’Indie (Francesco Corselli)
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Francesco Corselli. A setting premiered in Madrid on 9 May for a royal wedding. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
Alessandro nell’Indie (Francesco Mancini)
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Francesco Mancini. A setting performed during the Naples Carnival. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
Alessandro nell’Indie (Gaetano Maria Schiassi)
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Gaetano Maria Schiassi. A setting premiered in Bologna on 20 February and later performed in Lisbon. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
Alessandro nell’Indie (Georg Christoph Wagenseil)
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Georg Christoph Wagenseil. A German-language setting premiered in Vienna on 17 July. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
Alessandro nell’Indie (Gioacchino Cocchi)
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Gioacchino Cocchi. A setting premiered in London on 13 October. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
Alessandro nell’Indie (Giovanni Battista Pescetti)
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Giovanni Battista Pescetti. A setting premiered in Venice on 30 January. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
Alessandro nell’Indie (Girolamo Abos)
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Girolamo Abos. A setting performed in Ancona in July or August and later in Lucca. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
Alessandro nell’Indie (Giuseppe Sarti)
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Giuseppe Sarti. Sarti’s first setting, performed in Copenhagen in autumn; a 1766 Padua adaptation is also noted. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
Alessandro nell’Indie (Johann Christian Bach)
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Johann Christian Bach. A setting premiered in Naples on 20 January and revived in Lodi in 1778. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
Alessandro nell’Indie (Johann Friedrich Agricola)
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Johann Friedrich Agricola. A setting titled Cleofide, performed during the Berlin Carnival. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
Alessandro nell’Indie (Johann Gottlieb Naumann)
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Johann Gottlieb Naumann. A setting composed for Teatro San Benedetto that was not performed. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
Alessandro nell’Indie (Leonardo Vinci)
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Leonardo Vinci. The first musical setting; first performed in Rome on 2 January 1730. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
Alessandro nell’Indie (Luca Antonio Predieri)
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Luca Antonio Predieri. A setting performed during the Milan Carnival. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
Alessandro nell’Indie (Niccolò Jommelli)
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Niccolò Jommelli. Jommelli’s first setting, premiered in Ferrara on 26 December. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
Alessandro nell’Indie (Niccolò Piccinni)
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Niccolò Piccinni. Piccinni’s first setting, premiered in Rome on 21 January. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
Alessandro nell’Indie (Nicola Porpora)
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Nicola Porpora. A setting titled Poro, performed during the Turin Carnival. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
Alessandro nell’Indie (Tommaso Traetta)
A distinct musical setting of Metastasio’s libretto Alessandro nell’Indie by Tommaso Traetta. A setting premiered in Reggio on 29 April. The source does not provide a setting-specific plot synopsis; the libretto concerns Alexander’s campaign in India and the conflict involving King Porus, Cleofide, and their court.
Alexandre aux Indes
As Alexander threatens Porus’s Indian kingdom, Porus rejects submission, is defeated and captured, then released in admiration of his courage. He renews the fight, but Axiane intervenes before his recapture. Alexander allows Porus to keep his lands and Axiane, and Porus offers him loyalty and friendship.
Alexandre bis
In a Paris salon around 1900, Alexandre leaves home, allegedly for the station, while his American cousin arrives. His wife Armande falls for the cousin, to the dismay of Alexandre’s animated portrait and the maid Philomène. Armande dreams that the two Alexandres kill each other, that the goddess of marriage condemns her, and that Oscar courts her on roller skates. The next morning her husband returns without his beard and leaves for work. Oscar again invites Armande to a cycling lesson, and this time she accepts.
Alfonso und Estrella
Alfonso, son of the deposed King Froila, and Estrella, daughter of the usurper Mauregato, meet while she is separated from a hunting party and fall in love without knowing each other’s identity. Adolfo, Mauregato’s general, rebels after being denied Estrella’s hand. Alfonso joins Mauregato’s forces, defeats the rebels and rescues Estrella. Mauregato restores Froila to the throne, and Froila yields power to the young couple.
Alfred
After defeat by the Vikings, Alfred takes refuge on the Isle of Athelney in the home of shepherd Corin and his wife Emma. His wife Eltruda and son Edward find him alive, though the shepherds do not know his identity. Edward later reports that Alfred’s supporters await his command. Corin and Emma realize who their guests are as Alfred departs for battle. News of his victory brings rejoicing, and Alfred leads the people in “Rule, Britannia!”
Alfred
During war between the English and Danes, Prince Harald captures Alfred’s fiancée Alvina. Alfred plans to enter the Danish camp disguised as a harpist and escapes with Alvina when she flees captivity. She later reaches British soldiers and urges them to join Alfred, but Harald captures her again. Alfred and his army, aided by nobleman Dorset, defeat the Danes. Harald kills himself, and Alfred and Alvina reunite as the English celebrate victory.
Alfredo il grande
A two-act melodramma seria based on Gaetano Rossi’s Eraldo ed Emma. The plot is not described in the entry.
Alfredo il grande
A serious opera about Alfred the Great in ninth-century England; the plot is not detailed.
Ali Pascha von Janina oder Die Franzosen in Albanien
French naval captain Bernier is in love with Arianna, a woman from Corfu, who has been captured and taken to Ali Pasha’s harem. Ali orders her to forget Bernier. Bernier enters the palace under a pretext and pretends not to know Arianna, but they soon reveal their love. Ali overhears and chains Bernier. Robert and the French battalion break into the harem, free Bernier and Arianna, and return with them to France.
Ali-Baba
Poor wood-chopper Ali-Baba discovers a thieves’ cave that opens with “open sesame” and takes its treasure. His cousin Cassim overhears him, goes to the cave and forgets the magic words; the thieves capture him, but Zizi saves him with a disguise. The thieves’ leader Kandgiar identifies Ali-Baba and tries to attack his home. Morgiane foils the plan by marking neighbouring houses too, then detects the thieves hidden in Ali-Baba’s cellar and alerts the cadi. Kandgiar later arranges a dancer’s attempt on Ali-Baba’s life, but Morgiane saves him again. Cassim returns to his former life, Ali-Baba asks to marry Morgiane, and Zizi is forgiven.
Alice in Wonderland
An English-language opera by Unsuk Chin and David Henry Hwang, adapting Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass. Its listed scenes include the Pool of Tears, the Mad Tea Party, the Croquet Ground, and a trial.
Alice’s Adventures Under Ground
Alice falls down the Rabbit Hole and encounters characters from Alice’s Adventures in Wonderland, including the White Rabbit, Mad Hatter, Mock Turtle, and royal court. The story then moves to Looking-Glass Land, where she meets Humpty Dumpty and the Tweedles and becomes a queen after crossing the chessboard.
Alina, regina di Golconda
Alina, abducted from France and widowed queen of Golconda, tests the fidelity of her former lover Volmar, who arrives as a French ambassador. When the jealous Seide imprisons her after a revolt, Volmar returns with French forces, defeats him, and restores Alina to the throne.
Aline, dronning i Golconda, en opera i tre acter
A separate setting with new music by Johann Abraham Peter Schulz to a translated version of the French libretto for Aline, reine de Golconde. The source gives no version-specific plot or premiere details.
Aline, reine de Golconde
In India, Queen Aline recognizes the newly arrived ambassador Saint Phar as her former lover from when she was a peasant. Disguised as a shepherdess, she meets him and then leaves again to test his love. Later, as queen, she offers marriage, but he refuses because he loves the shepherdess. Aline’s identity is revealed and the lovers reunite.
Aline, reine de Golconde
A separate opera by Henri-Montan Berton, with a libretto by Jean-Baptiste-Charles Vial and Étienne Guillaume François de Favières. No plot details are provided.
Alkmene
Jupiter enlists Mercury to help him seduce Alkmene, wife of the Theban commander Amphitryon, by taking her husband’s form. When the real Amphitryon returns from war, the apparent double creates suspicion and confusion. Jupiter reveals his identity and tells Alkmene she will bear Hercules; she later awakens reconciled with her husband.
Almahide
Almahide has been raised as a man so she can kill her father’s enemy, Almiro, but she falls in love with him instead. Almiro loves Celinda, who is also loved by King Almanzor but loves the disguised Almahide. Jealousy and threats of violence follow before the conflicts are resolved with two marriages.
Almast
A national Armenian opera based on Hovhannes Tumanyan’s poem “The Siege of the Tmbouk Castle.” The composer completed the vocal score in 1923; Maximilian Steinberg completed the orchestration of the fourth act after Spendiaryan’s death.
Almira
Queen Almira of Castile loves her secretary Fernando, while her guardian expects her to marry his son Osman. Osman loves Edilia, and Princess Bellante loves Osman. A ruby reveals that Fernando is Consalvo’s long-lost son, allowing Almira and Fernando to marry; Osman marries Bellante, and Edilia accepts King Raymondo.
Alonso e Cora
After a volcanic eruption destroys the Temple of the Sun, Spanish conquistador Alonso rescues Inca maiden Cora, breaking the law that requires her sacrifice if she leaves the temple. Alonso offers to die with her, but the people spare them and abolish the law.
Alzira
Zamoro returns to Peru after being presumed dead and reunites with Alzira, who is held by the Spanish. Gusmano captures Zamoro and forces Alzira to agree to marry him to save Zamoro’s life. Zamoro escapes and fatally stabs Gusmano at the wedding; Gusmano reveals that Alzira agreed only to secure Zamoro’s freedom, forgives him, and blesses their union before dying.
Amadigi di Gaula
The knight Amadigi loves Oriana, who is also pursued by Dardano, while the sorceress Melissa tries to win Amadigi for herself. After Melissa uses magic to inflame jealousy between the lovers, Amadigi kills Dardano in a duel. Melissa imprisons Amadigi and Oriana, then takes her own life; the sorcerer Orgando blesses their union.
Amadis
Amadis and Oriane’s faithful love is opposed by the sorcerers Arcabonne and Arcalaus; Florestan and Corisande form a secondary pair of lovers.
Amadis
In ancient Brittany, the brothers Amadis and Galaor are separated at birth. Amadis kills Galaor in a duel over Floriane, then recognizes his brother from matching magic stones given to both by their dying mother.
Amadis de Gaule
A five-act tragédie en musique based on Garci Rodríguez de Montalvo’s Amadis de Gaula, using Quinault’s libretto previously set by Lully.
Amadis de Gaule
Sorceress Arcabonne has fallen for a nameless knight who once saved her, but her brother Arcalaüs urges her to destroy Amadis, who killed their brother. Arcalaüs’s demons make Oriane jealous of Amadis. When Amadis attacks the fortress where he believes Oriane is held, demons capture him. Arcabonne recognizes him as her rescuer during the sacrificial rite and frees him and the other prisoners. Arcalaüs then deceives Oriane into believing Amadis is dead, but the fairy Urgande breaks the enchantment. Arcabonne kills herself when she understands Amadis will never love her, and Amadis frees the prisoners of the enchanted palace.
Amadis de Grèce
A tragédie en musique based on the medieval romance Amadis de Gaula, featuring Amadis, Zirpheus, Melissa, Nicated and the Prince of Thrace.
Amahl and the Night Visitors
Amahl, a disabled boy who walks with a crutch, and his mother welcome the Three Kings, who are traveling to bring gifts to the Christ Child. The impoverished mother tries to take some of their gold, but Amahl defends her and the kings forgive her. Amahl offers his crutch to the Child and is miraculously healed; with his mother’s permission, he joins the kings on their journey.
Amelia
Pregnant Amelia confronts her unresolved grief over her father Dodge, a Navy pilot missing in Vietnam. Years earlier, a Vietnamese couple who sheltered Dodge explain how their daughter was killed and reveal that he left a photograph and letter; Amelia later dreams of speaking with her father before giving birth.
Amelia al ballo
A socialite’s husband refuses to accompany her to a ball unless she reveals her lover’s identity. A fight follows; Amelia tells police that a burglar attacked her husband, leaving her lover to be arrested while she departs for the ball with the investigating police chief.
Amica
Set in the mountains of Savoy around 1900, this verismo domestic tragedy involves two brothers, Giorgio and Renaldo, and the woman they both love, Amica.
Amilie, or the Love Test
A three-act opera featuring Amilie and Jose Spechbacher, with a chorus of gypsies.
Amleto
Prince Amleto learns from his father’s ghost that his uncle Claudio murdered the king. He feigns madness and stages a play to expose Claudio. Amleto accidentally kills Polonio, whose daughter Ofelia goes mad and drowns. In the original fourth-act ending, a poisoned duel and cup lead to the deaths of Geltrude, Laerte, Claudio, and Amleto.
Amor aumenta el valor
A collaborative opera, with music by José de Nebra in the first act and Giacomo Facco and Filipo Falconi in the remaining acts.
Amor constancia y mujer
A distinct musical setting of Pietro Metastasio’s Siface re di Numidia libretto by Giovanni Battista Mele. A two-act setting performed during the 1737 Carnival at Teatro de los Caños del Peral, Madrid. The source provides no version-specific plot description.
Amor d’un’ombra e gelosia d’un’aura
A three-act opera drawing on Ovid’s fables of Echo and Narcissus and Cephalus and Procris.
Amor ingegnoso
A young woman thought to have died pretends to be a ghost to misdirect her former fiancé and marry the man she truly loves.
Amor und Psyche
Four-act German Singspiel based on the Cupid and Psyche story. The entry identifies its creators, roles and premiere but gives no plot synopsis.
Amor vien dal destino
A three-act opera based on an episode from Virgil’s Aeneid, bringing together mythological and epic characters including Lavinia, Turnus and Aeneas. The work juxtaposes noble characters with comic figures and explores love, power and choice; a plot synopsis is not provided.
Amor vuol sofferenza
Three-act commedia per musica by Leonardo Leo to a libretto by Antonio Federico Gennaro.
Amore non soffre opposizioni
Simon Mayr’s opera buffa for Teatro San Moisè in Venice is written in the new Neapolitan style without recitatives. A later recording lists six roles, including Elmira/Zefirina, Gelmina, Ernesto, and Argante.
An American Soldier
At the court-martial of Sgt. Aaron Marcum, Danny Chen’s mother pleads for justice as testimony prompts flashbacks to Chen’s life in New York, his enlistment, and the racist abuse he endured. Chen appears as a ghost in the courtroom; at the end, his mother sings a childhood lullaby as soldiers fold the flag and Chen salutes her.
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