[[quoteright:225:http://static.tvtropes.org/pmwiki/pub/images/maria_callas_norma_parigi.jpg]]
[[caption-width-right:225:Opera legend Maria Callas in the supreme diva role, Norma]]

->''"Opera is when a guy gets stabbed and instead of bleeding, he sings."''
-->-- '''Ed Gardner'''

Opera has been around since the end of the [[OlderThanSteam 16th century]] and still going strong. Major opera composers include [[WolfgangAmadeusMozart Mozart]], Handel, {{Verdi}}, Music/GioachinoRossini, [[Creator/RichardWagner Wagner]], Puccini and Richard Strauss, though there are, of course, many more.

The [[CommonKnowledge public perception]] of the difference between opera and TheMusical is that musical theatre has breaks for spoken dialogue, whereas opera is "sung through", alternating between "arias" (big numbers) and "[[http://en.wikipedia.org/wiki/Recitative recitative]]" (music written in the style and rhythm of dialogue). While not a bad approximation, it's also not true. There are a number of {{Sung Through Musical}}s, such as ''Theatre/LesMiserables'' and ''Theatre/JosephAndTheAmazingTechnicolorDreamcoat'', or ones that are nearly so, like ''Theatre/ThePhantomOfTheOpera'' and ''Theatre/{{RENT}}'' (which in fact has more {{Wham Line}}s spoken than sung!). Likewise, several opera, like ''Theatre/TheMagicFlute'' and ''Theatre/{{Carmen}}'', involve spoken dialogue. The actual line between musicals and opera is blurry and kind of technical, but the short of it is that opera doesn't use electronic sound equipment and musicals typically need better actors than singers. StephenSondheim was heard to claim, "I really think that when something plays Broadway it's a musical, and when it plays in an opera house it's opera. That's it."

The public perception of opera is that it's always a {{tragedy}}. This is also not true; the opera genre is as varied as any other. Many operas are comedies, and even the serious ones tend to have at least some humorous parts. In fact, during the Baroque and Classical periods, operas were generally expected to have happy endings; the concept of tragic operas only became popular during the Romantic period. And while some operas have incredibly well-crafted lyrics and story lines that are true works of art, others are... [[SturgeonsLaw not quite as brilliant]].

That said, the opera genre is known for featuring many a work with ''extremely'' drawn-out texts focusing on a single (often trivial) theme. As a result, opera texts (libretti) are often mocked, and in many cases it's mainly the quality of the music that makes an opera work, along with the same thing you need for any theatrical production: committed performers bringing the art form to life on stage. Movies have car chases, rock songs have guitar solos, and operas have death-arias (the soprano frequently dies). In fact, both Creator/AnnaRussell and [[http://en.wikipedia.org/wiki/Betty_Jean_Ward B.J. Ward]] (in her one-woman show, ''Stand-Up Opera'') have made entire comedy routines of poking fun at opera tropes.

Nowadays we tend to think of operas as high-falutin' fare for the nobs and snobs. Back in the 18th, 19th, and early 20th centuries, though, opera was ''popular music'', to the point that the opening night audience was chock-full of transcriptionists. And it didn't take long for them to produce a saleable product: Rossini once said that by the time he left the opera house for home at the end of opening night, hawkers would be lined up on the street selling copies of the music and lyrics of his arias to those who couldn't afford a ticket.

Several modern films and other works have been created as operas (that is, entirely consisting of sung dialogue). The most famous "serious" opera film is probably ''The Umbrellas of Cherbourg'', starring Catherine Deneuve. A very modern example is RepoTheGeneticOpera, which [[IncrediblyLamePun transplants]] the style into industrial sci-fi horror. The term RockOpera is thrown around at times for a sub-genre of the themed ConceptAlbum, but most "rock operas" are not produced for the stage (with [[JesusChristSuperstar an exception]] or two). The nearest thing to a modern successor to opera is Broadway-style MusicalTheater. Indeed, musicals can trace their origins to opera through the operatic subgenre of operetta or light opera, which, as its name implies, is light in terms of subject matter (i.e. it's funny) and music, and often feature a good deal more plain dialogue than ordinary operas. The works of Creator/GilbertAndSullivan are generally considered transitional, as while they considered their works to be comic operas, they would probably be called musicals if produced today; many would argue that musicals are basically the genre of theatre [[GenreLaunch launched]] by G&S.

Used in movies and TV shows [[AtTheOperaTonight to add a touch of class]]. Or just something artsy. Or for the cast to get bored and fall asleep, which is something that can't be done (too loud).

Not to be confused with the {{Cantata}}, though at least one cantata, {{Johann Sebastian Bach}}'s Coffee Cantata, can be considered a miniature comic opera according to TheOtherWiki.
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!!Tropes typical of opera

* {{Aesop}}
** [[LampshadeHanging Lampshaded]] in Donizetti's ''Don Pasquale''
** And in Stravinsky's ''A Rake's Progress''
** And in [[GioachinoRossini Rossini's]] ''Il Turco in Italia''
** In [[WolfgangAmadeusMozart Mozart's]] ''Theatre/DonGiovanni'', one was apparently {{enforced}}. ([[LoveItOrHateIt Opinions vary wildly]] on whether it's better when performed with or without it.)
* AllThereInTheManual Without a program, good luck trying to understand what's going on on stage. Many modern opera houses (Especially in Germany) show the text right above the stage, and some fancy opera houses even have a small screen on the back of the seats with the text in several selectable languages. Performing opera in translation has disadvantages too. It's often just as hard to make out the words, and when you can the effect isn't always what it might be. For example, to an English ear Tosca (in [[Theatre/{{Tosca}} one of the rare operas with a stonking good story]]) may sound dramatic when she sings 'Muori! Muori! Muori! ... È morto.' but translated into English this becomes 'Die! Die! Die! ... He's dead.' 'Nuff said.
* AllMusicalsAreAdaptations: Opera gets this from both sides. Many operas are adaptations of existing works, and a number have been adapted into modern musicals.
* BloodSplatteredWeddingDress: Poor, ''poor'' [[spoiler: Lucia di Lammermoor.]]
* BrawnHilda: A rather unfortunate stereotype of opera singers (as in the saying, "It ain't over till the fat lady sings"). Although it's usually very exaggerated, it does have a degree of TruthInTelevision since the vocal pipes necessary to support a huge operatic voice often go along with a [[BigBeautifulWoman larger frame]]. The trope may have originated from Wagner's ''[[Theatre/TheRingOfTheNibelung Die Walküre]]'', where the main character, [[TropeNamer Brünnhilde]], is often played by an imposing woman. Though if you think that means opera singers are unattractive, [[http://www.buzzfeed.com/uhohspaghettio/what-happened-to-opera-9mn7 think again]].
** If you're watching work from the 17th or 18th century (where opera houses and orchestras were much smaller) this is usually averted, if not sometimes inverted- soubrette sopranos who play roles like Despina or Zelina (or anything else written for Nan Strorace) are usually quite small women, cast for their girlish vocal instrument. Women in 'trouser roles' in these operas are likewise often petite.
* {{Camp}}: Especially in RichardStrauss operas. Rossini has his moments too.
* ClassicalMythology: Baroque (1601-1750) operas tended to draw on these for their plots.
* CreatorCouple: Practically every opera by Vincenzo Bellini that you will see (except his last, ''I Puritani'') has a libretto by Felice Romani.
* CreatorKiller: Even for a great success, ''William Tell'' did this to GioachinoRossini.
** And on the subject of Rossini, Constantino Dall'Argine did a version of ''The Barber of Seville'' that was first performed [[spoiler:two days before Rossini died.]] History repeated itself and Dall'Argine's work disappeared forever.
** Leon Kirchner had ''his'' operatic career destroyed from the get-go, where ''Lily'' gave one of the quickest bailouts in operatic history.
* CrosscastRole: There are many "trouser roles" for women playing men and several "skirt roles" for men playing women. In the Baroque period (Opera's earliest century-and-a-half), especially in those areas where the pope's influence was strongest such as Rome, female roles were often played by male castrati. (And, yes, a ''castrato'' is exactly what you think it is.)
* DarkReprise
* DawsonCasting: Due to the physical requirements and amount of training involved, teenage characters like Cio-Cio-San (Madama Butterfly) or Salome are almost always portrayed by singers in their twenties or older. And teenage ''boys'' are generally played by [[CrossDressingVoices adult women]], usually mezzo-sopranos. Sometimes averted with less demanding roles such as Barbarina from ''Theatre/TheMarriageOfFigaro'', who is occasionally played by a high-school aged singer.
* DistressedDamsel
* DeusAngstMachina
* DeusExMachina
* DownerEnding: Anything by Puccini or Verdi.
** BittersweetEnding: In the rare cases it's not. For example [[spoiler: ''La fanciulla del West''.]] Maybe [[spoiler: ''La rondine'']] too.
** ''Anything'' by Puccini... excepting the chamber comedy ''Gianni Schicchi.'' Although, the entire Donati clan may disagree that it was quite so funny.
* DramatisPersonae
* EndingFatigue: A common complaint of several operas.
* EveryoneIsJesusInPurgatory: Individual operas may very well be subject to this, but the entire ''form'' of Opera is actually a product of this. In attempting to revive classical Greek plays to the theatre of the Renaissance era, interested scholars decided that the Greek plays were meant to be sung in their entirety. New works followed suit, and the rest is history.
* EvilSoundsDeep: About the only subversion is the Duke of Mantua in ''Theatre/{{Rigoletto}}''.
--> '''David Merrill:''' You're the rat again, aren't you, Daddy?
--> '''Robert Merrill, baritone:''' The baritone is always the rat, my boy.
* The darker and heavier the voice, the meaner and nastier the villain.
** In the Baroque period, heroic roles were often written for castrati, whose unbroken voices were synonymous with virtue and heroism on the opera stage. The broken normal male voice was usually assigned to villains or servants.
** A lament of altos (the lowest and darkest of female voices) is that alto roles are always either "[[JerkAss bitches]], [[CrosscastRole britches]], or witches".
* {{Farce}}: The plot of many comic operas. There's even a whole genre called "opera buffa" (to distinguish it from "[[SeriousBusiness opera seria]]"). Notable examples are ''The Marriage of Figaro'', ''The Barber of Seville,'' and ''L'elisir d'amore'', all of which are screamingly funny provided the cast is on their toes.
* FemmeFatale: All the best diva roles. Special mention goes to Violetta from ''La Traviata''.
* FlameWar: For all the veneer of civilisation in the genre, opera enthusiasts can get just as vicious in defense of their favourite singers and composers as any other fans. Just go have a look at the comments on any opera clip on Website/YouTube.
** For some [[{{Troll}} extra fun]], ask any group of opera fans [[LoveItOrHateIt their opinion]] of RichardWagner, then stand out of the way...
*** Next time you have access to a TARDIS, put on a helmet and pads and go ask Giuseppe Verdi what ''he'' thought of Richard Wagner. For extra crispy goodness, put the two of them in a room together.
* GenderBender: Not only are many male roles played by women, but many of these men [[RecursiveCrossdressing end up crossdressing]].
* GettingCrapPastTheRadar: A lot of Mozart. For example, ''Don Giovanni'' sings about Zerlina's "honeyed lips", using Italian slang for vagina.
* GratuitousForeignLanguage: As mentioned above, it's traditional for operas to be performed in their original language rather than translated.
* GroinAttack: In the early days of opera, it was considered improper for women to appear on stage, but there were still treble singers. This was because if a prepubescent boy had a good singing voice, a simple operation could enable him to preserve it permanently into adulthood. Yes, "castrato" means [[NightmareFuel exactly what you think it does]]. At the time, they often became wildly successful superstars, but the practice [[ValuesDissonance fell out of favor]] by the mid-1800s.
* HappilyEverAfter: Anything by Mozart or Rossini. Rossini has had his share of tragic endings as well, in his lesser known 'serious' operas.
* IAmSong: "Mi chiamano Mimì", "Io son l'umile ancella", "Largo al factotum della città" among others...
* IllGirl: Mimi in ''Theatre/LaBoheme'' and Violetta in ''Theatre/LaTraviata.''. They both have the infamous IncurableCoughOfDeath
* IWantSong
* IncrediblyLongNote: [[http://www.youtube.com/watch?v=ce3vEdhx3Lc This]] and [[http://www.youtube.com/watch?v=SZW5tryk-E4 this]], for starters. In fact, some famous singers like Birgit Nilsson & Franco Corelli made it a friendly sport over who'd black out first from holding that high C in ''Theatre/{{Turandot}}''. Everyone else peed in excitement, of course. Expect this trope (especially of the soft-but-incredibly-held-out variety) when you see Montserrat Caballé on the cast list or album notes.
** The ''"Vittoria!"'' from {{Tosca}} is also a good example. [[http://www.youtube.com/watch?v=3tXM5yhqY4U See attached.]]
** Siegmund's cry of "[[https://www.youtube.com/watch?v=zKlgIhERPCU Wälse!]]" in [[Theatre/TheRingOfTheNibelung Die Walküre]] is a favorite of Wagnerian tenors.
* IrrelevantActOpener: Lots of operas -- often a drinking song
* KillEmAll
* LargeHam: Opera has long been full of hammy divas and divos (many roles, and perhaps the very nature of Romantic opera, lend themselves to this), though singers and productions seem to be averting this trope more and more these days, partly thanks to speakers making it no longer necessary to have NoIndoorVoice.
* {{Leitmotif}}: [[strike:Wagner]] Wagner commentator Hans von Wolzogen is the TropeNamer, although the concept predated Wagner by quite a while
* LoveAtFirstSight
* LoveHurts
* LoveItOrHateIt: Creator/RichardWagner. Composer of the finest music and producer of the best plots ever, or overly bombastic and just too damn long-winded? One of the less intelligent criticisms of Wagner is that he was "Hitler's favorite composer". This is kind of unfair; Wagner couldn't possibly have pandered to Hitler in any way, since he died before Hitler was even born. (And of course, HitlerAteSugar.)
* LoveTriangle
* ManOfAThousandVoices: Otherwise known as 'character singers'. Singers who specialise in art songs (as opposed to opera only) can also modulate their voice on demand.
* MassiveMultiplayerEnsembleNumber: Not omnipresent, particularly given how difficult it is to write one. But ''Lucia di Lammermoor'' and ''Theatre/TheMarriageOfFigaro'' have especially notable ones, a sextet and septet respectively.
* MelismaticVocals: Or 'coloratura'. Bread-and-butter for ALL voice, but ideally for belcanto roles. A huge plus if you have a large voice (''dramatic coloratura'') - although having a large voice and a dramatic voice is not necessarily the same thing.
** Lampshaded gloriously in most Baroque operas. Expect the vocal line to fall when singing about sadness or despair, rise up when singing about glory, anger and war, and have crazy roulades when singing about being in love (as in "adrift in a sea of love").
* TheMusical: ''Theatre/LaBoheme'' into ''{{Rent}}'', ''Theatre/MadameButterfly'' into ''MissSaigon'', ''La Traviata'' into ''MoulinRouge'', and ''Aïda'' into ''Theatre/{{Aida}}''
* MysteriousWaif: Melisande from Debussy's ''Pelleas et Melisande''.
* NamesTheSame: It helps to be a bit more specific when you're looking for operas by Strauss. Johann Strauss wrote all those lighthearted waltzes, but also several light operas, the only one still regularly performed being ''Die Fliedermaus''; Richard Strauss (no relation) wrote dramatic pieces like ''Elektra'' and ''Theatre/{{Salome}}''. (Johann Strauss is also not to be confused with his father, Johann Strauss Sr., or his brother, Josef Strauss...)
* NecessaryWeasel: The entire audience, including the rearmost, who are usually 50m or more from the stage, have to understand who the disguised character is.
* OneHitWonder: Pietro Mascagni and Ruggero Leoncavallo fall into this category respectively with ''Cavalleria Rusticana'' and ''I Pagliacci''. Composers who only wrote one opera include:
** Béla Bartók: ''Duke Bluebeard's Castle''
** Ludwig van Beethoven: ''Fidelio''
** Paul Dukas: ''Ariane et Barbe-bleue'' (three other operas are now lost)
** Franz Liszt: ''Don Sanche''--and it was a '''collaborative effort''' written, no less, when he was in his teens.
** Jean Sibelius: ''The Maiden in the Tower'', composed to a Swedish libretto, first performed in Helsinki.
** Claude Debussy: ''Pelléas et Mélisande''
* OneWomanWail
* PaperThinDisguise
* PowerEchoes: The Valkyries from ''[[TheRingOfTheNibelung Die Walküre]]'' were originally conceived as singing their entrance war-cry off-stage into actual megaphones ('singing trumpets'). Played straight in ''Siegfried'' with the dragon.
* PublicDomainSoundtrack: Many, many famous tunes are originally from operas. In particular, the ''Music/RideOfTheValkyries'' and a number of other {{Standard Snippet}}s have operatic origins.
* RecursiveCrossdressing: Cherubino from ''Theatre/TheMarriageOfFigaro'', Octavian from Strauss's ''Theatre/DerRosenkavalier'', and many more.
* RecycledScript: Several examples, but Rossini was particularly well known for lifting music from one of his operas to another. It was acceptable at the time, as long as the two works didn't premiere in the same town.
* RuleOfDrama: The meeting of the queens in Donizetti's ''Maria Stuarda'', just to name ''one'' example.
* RuleOfThree: Many operas have three acts, especially those of Wagner. For Verdi and Puccini, their third operas (respectively with ''Nabucco'' and ''Manon Lescaut'') formally launched their careers.
* SatelliteLoveInterest: Very common - as in the Commedia dell'Arte, viewers are given little explanation as to who the inamorati actually are. They're young and in love, which usually sums up both characters' entire personalities (or at least the soprano's).
* SungThroughMusical: That's kind of the point.
* SweetPollyOliver: ''Fidelio''
* TearJerker: Some operas, especially ones by Puccini, seem engineered specifically to be as heart-rending as possible.
* ThatMakesMeFeelAngry: In opera, this trope is pretty much a must-have, since the music is more important than the words and many singers don't bother acting things out too much. Opera is full of ''(insert adjective here) mi sento'' and other status-descriptions. Or the composer/librettist put it in to give the singer an indication of how the character should feel; singers are expected to act nowadays. Also, during the Baroque era, musical drama tended to be structured according to the so-called [[http://en.wikipedia.org/wiki/Doctrine_of_the_affections doctrine of affects]], with consecutive numbers depicting contrasting emotions - a lilting love duet followed by a furious vengeance aria, for instance. If the idea is to juxtapose readily identifiable emotions for maximum effect, it makes sense to flag them in the libretto.
* ThemeNaming: ''Ariane et Barbe-bleue'' was written by Maurice Maeterlinck, who named Bluebeard's five former wives after female characters in his own plays: Mélisande from ''Pelléas et Mélisande'', Alladine from ''Alladine et Palomides'', Ygraine and Bellangère from ''La mort de Tintagiles'', and Sélysette from ''Aglavaine et Sélysette''.
* ThemeSongReveal: Most notably in Wagner's ''Die Walküre''
* TrueArtIsAngsty
* UntranslatedTitle: Most of the titles below that are not proper nouns.
* VillainProtagonist: ''Boris Godunov'', ''Theatre/DonGiovanni'', ''Faust''
* VillainSong
* WhatIsThisThingYouCallLove: Many characters wonder something similar aloud in trying to understand their feelings; most conclude that, yes, that strange feeling is love indeed
* WigDressAccent: Many, many operas
* WorldOfHam: Pretty much all of them. An EnforcedTrope back then, since you have to SHOUT for the back audience and [[MundaneMadeAwesome poetically narrate each little thing that is happening to you while epic music plays]].
* WillingSuspensionOfDisbelief: Pretty much a given for all operas ever. Many plots are completely implausible, TheCasanova is often played by a short, fat, middle aged guy, TheIngenue is often played by a tall, buxom woman, and there's only so much costuming can do. Opera is pretty much built on this trope - generally, the audience is there for the music.
** It also creates a certain amount of ColorblindCasting, since the voices are usually cast indiscriminately of the singer's race.
* {{Yandere}}: Many a love rival, of ''both'' genders.
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!!Examples appearing in fiction

* ''{{Amadeus}}'': Several are featured, for obvious reasons
* ''[[Literature/ArtemisFowl Artemis Fowl and the Lost Colony]]'': The book pretty much starts out with Artemis attending an opera, specifically ''Norma'', and commenting on how Butler does not know how to appreciate an opera.
* ''Film/BatmanBegins'': Thomas and Martha Wayne -- as well as young Bruce -- see ''Mefistofele''. Little Bruce gets shit scared and they go out...DeathByOriginStory ensues.
* ''Series/{{Battlestar Galactica|Reimagined}}'': The Opera House
* ''Series/BuffyTheVampireSlayer'': In "Nightmares," Willow is supposed to sing the duet from ''Madame Butterfly'' with a world-famous tenor.
* ''Film/CitizenKane'': Fictional opera written for Kane's second wife; based on Massenet's ''Thaïs''
* Many key events in ''Literature/TheCountOfMonteCristo'' takes place in opera houses.
* ''Literature/{{Discworld}}'': Heavily but [[AffectionateParody affectionately]] parodied in ''Maskerade'' -- see page quote
* ''Film/{{Farinelli}}'': A film based on the life of Carlo Broschi, whose stage name was Farinelli, a famous 18th century castrato and regarded as one of the best opera singers of all time.
* ''Film/TheFifthElement'': "Il dolce suono" from Donizetti's ''Lucia di Lammermoor''
* ''VideoGame/FinalFantasyVI'': Contains some original/fictional opera elements
* ''{{Frasier}}'': Both Frasier and Niles are opera buffs
* ''GilligansIsland'': Cast creates in "The Producer" episode an operatic rendition of Creator/WilliamShakespeare's ''{{Hamlet}}'', set to the Habanera and Toréador melodies from ''Carmen'' and the Barcarolle from ''[[Theatre/TheTalesOfHoffmann The Tales of Hoffmann]]'').
* ''Film/HeavenlyCreatures'': Toward the end, just before the tragic finale, Juliet stands on her balcony and sings "Sono andati" (Are they gone?) from ''La Boheme''. It's actually Kate Winslet singing. On the fatal walk, the Humming Chorus from ''Madama Butterfly'' is heard. It creates an unbearable dramatic tension, especially if you know the story.
* ''{{Hellsing}}'': Rip Van Winkle identifies herself with Kaspar from ''Theatre/DerFreischuetz''. She even sings a few bits from the opera, [[WhatDoYouMeanItsNotSymbolic but nothing that Kaspar sings.]]
* The HeckleAndJeckle cartoon "Off To The Opera" features two selections from "The Barber Of Seville."
* ''WesternAnimation/LooneyTunes'': Featured particularly in "RabbitOfSeville," "Long-Haired Hare," and, most famously, "WesternAnimation/WhatsOperaDoc" All together now: "[[Music/RideOfTheValkyries Kill da wabbit! Kill da wabbit! Kill da wabbit!...]]"
* ''MadMen: Theatre/TheMarriageOfFigaro''
* ''Milk'': Incorporates the finale of ''Theatre/{{Tosca}}'' at the end
* The MarxBrothers film ''ANightAtTheOpera'' features quite a bit of ''Il Trovatore,'' including the famous Anvil Chorus
* The video game adaptation of ''VideoGame/ParasiteEve'' opens at an opera.
* ''Theatre/ThePhantomOfTheOpera'' parodies Mozart's ''Theatre/TheMarriageOfFigaro'' (''Il Muto'') and ''Theatre/DonGiovanni'' (''Don Juan Triumphant'')
** [[Literature/ThePhantomOfTheOpera In the novel]] and [[Film/ThePhantomOfTheOpera1925 the silent film]], Gounod's ''{{Faust}}'' features in several key scenes.
* In ''Film/{{Philadelphia}}'', Andrew Beckett listens to the aria "La mamma morta" from ''Andrea Chénier'' by Umberto Giordano.
* ''Film/PrettyWoman'': ''La Traviata'' (an opera about a prostitute who falls in love with a rich man).
* ''ProfessorLaytonAndTheEternalDiva'' features, well, a diva. She performs an aria on the soundtrack.
* ''Film/QuantumOfSolace'': ''Theatre/{{Tosca}}'', probably chosen because of the parallel between its ScarpiaUltimatum and the General's evil behavior
* ''Rasputin'': The Romanov family attends a performance of "Norma". The awesome march from Act II is heard.
* ''WesternAnimation/RobotChicken'' had a sketch consisting of ''Film/StarTrekIITheWrathOfKhan'' being performed as an Italian opera. Featuring such great lines as "Oh no! My ear! I'm not supposed to get eels in it!"[[note]][[DontExplainTheJoke It's a]] [[IncrediblyLamePun Space]] [[SpaceOpera Opera.]][[/note]]
* ''{{Seinfeld}}'': episode "The Opera" centers around the gang going to a performance of ''Pagliacci''
* ''TheSimpsons'': one episode ("[[Theatre/TheBarberOfSeville Homer of Seville]]") has Homer become an overnight opera star, and includes snippets from several shows.
* Alien operas occasionally pop up throughout SpeculativeFiction. [[Franchise/StarTrek Klingon]] and [[Series/BabylonFive Centauri and Narn]] operas spring to mind.
* ''StarWars: Episode III -- Revenge of the Sith'' (a literal example of a SpaceOpera)
* ''The Talented Mr. Ripley'' film version has Ripley watching a production of Tchaikovsky's ''Eugene Onegin.''
* ''The Untouchables'': Al Capone struggles to keep a straight face during ''Pagliacci''
* Several ''VictorianRomanceEmma'' characters are opera fans. Rossini's ''Barber of Seville'' plays a minor role in the story.

!!Opera composers with their own page:
* Creator/LudwigVanBeethoven
* Music/ClaudeDebussy
* Creator/AntoninDvorak
* Music/GeorgeFredericHandel
* Music/JosephHaydn
* Creator/WolfgangAmadeusMozart
* Music/GiacomoPuccini
* Music/SergeiRachmaninoff
* Music/IgorStravinsky
* Creator/RichardWagner
* Music/GiuseppeVerdi

!!Operas with their own page:
[[index]]
* John Coolidge Adams
** ''Theatre/DrAtomic''
** ''Theatre/NixonInChina''

* Ludwig van Beethoven
** ''Theatre/{{Fidelio}}''

* Georges Bizet
** Theatre/{{Carmen}}

* Benjamin Britten
** ''Theatre/BillyBudd''
** ''Literature/DeathInVenice''
** ''Theatre/AMidsummerNightsDream''
** ''Theatre/PeterGrimes''
** ''Literature/TheTurnOfTheScrew''

* Gaetano Donizetti
** ''Theatre/LaFilleDuRegiment''
** ''Theatre/LelisirDamore''

* George Gershwin
** ''Theatre/PorgyAndBess''

* Charles Gounod
** ''Theatre/{{Faust}}''
** ''[[Theatre/RomeoAndJuliet Romeo et Juliette]]''

* Ruggero Leoncavallo
** Theatre/{{Pagliacci}}

* Heinrich August Marschner
** ''Theatre/DerVampyr''

* Jules Massenet
** ''[[Literature/{{Cinderella}} Cendrillon]]''

* Gian Carlo Menotti
** ''Theatre/AmahlAndTheNightVisitors''
** ''Theatre/TheConsul''

* Claudio Monteverdi
** ''[[Theatre/LIncoronazioneDiPoppaea L'Incoronazione di Poppea]]''

* Wolfgang Amadeus Mozart
** ''Theatre/CosiFanTutte''
** ''Theatre/DonGiovanni''
** ''Theatre/TheMagicFlute''
** ''Theatre/TheMarriageOfFigaro''

* Jacques Offenbach
** ''Theatre/TheTalesOfHoffmann''

* Johann Christoph Pepusch
** ''Theatre/TheBeggarsOpera''

* Giacomo Puccini
** ''Theatre/LaBoheme''
** ''Theatre/MadameButterfly''
** ''Theatre/{{Tosca}}''
** ''Theatre/{{Turandot}}''

* Gioachino Rossini
** ''[[Theatre/TheBarberOfSeville Il barbiere di Siviglia]]''
** ''Theatre/LaCenerentola''
** ''Theatre/LItalianaInAlgeri''
** ''[[Theatre/{{Othello}} Otello]]''

* Stephen Sondheim
** ''Theatre/SweeneyToddTheDemonBarberOfFleetStreet''

* Richard Strauss
** ''Theatre/DerRosenkavalier''
** ''Theatre/{{Salome}}''

* Peter Ilych Tchaikovsky
** ''Literature/EugeneOnegin''

* Giuseppe Verdi
** ''Theatre/{{Aida}}''
** ''Theatre/DonCarlo''
** ''Theatre/{{Macbeth}}''
** ''Theatre/{{Nabucco}}''
** ''[[Theatre/{{Othello}} Otello]]''
** ''Theatre/{{Rigoletto}}''
** ''Theatre/LaTraviata''
** ''Theatre/IlTrovatore''
** ''Theatre/IVespriSiciliani''

* Richard Wagner
** ''Theatre/TheFlyingDutchman''
** ''[[Theatre/TannhaeuserUndDerSaengerkriegAufWartburg Tannhäuser]]''
** ''Theatre/{{Lohengrin}}''
** ''Theatre/TheRingOfTheNibelung''
** ''Theatre/TristanUndIsolde''

* Carl Maria von Weber
** ''Theatre/DerFreischuetz''

* Kurt Weill
** ''Theatre/TheRiseAndFallOfTheCityOfMahagonny''
** ''Theatre/StreetScene''
** ''Theatre/TheThreepennyOpera''
[[/index]]
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