ndpoint of its texts, as only a gifted poet and librettist can do, Dana Gioia examines why a surprisingly small number of operas have attained a secure place in the repertory. His insight into the workings of this uniquely lyrical fusion of the arts makes Weep, Shudder, Die not only a definitive assessment of the importance of poetry to the operatic undertaking, but a gift to opera lovers everywhere. Read...Reflect...Delight!"
--Ted Libbey, author of The NPR Listener's Encyclopedia of Classical Music

"Weep, Shudder, Die should be read by anyone who enjoys opera, or who cares about its place in today's world. Dana Gioia explores, with imagination and insight, the relationship between the libretto and the music. I learned a great deal in reading it, and at the same time enjoyed the experience immensely."
--Henry Fogel, Former President, Chicago Symphony Orchestra and League of American Orchestras

A unique book about opera--personal, impassioned, and provocative.

Weep, Shudder, Die explores opera from the perspective by which the art was originally created, as the most intense form of poetic drama. The great operas have an essential connection to poetry, song, and the primal power of the human voice. The aim of opera is irrational enchantment, the unleashing of emotions and visionary imagination.

Gioia rejects the conventional view of opera which assumes that great operas can be built on execrable texts. He insists that in opera, words matter. Operas begin as words; strong words inspire composers, weak words burden them. Ultimately, singers embody the words to give the music a human form for the audience.

Weep, Shudder, Die is a poet's book about opera. To some, that statement will suggest writing that is airy, impressionistic, and unreliable, but a poet also brings a practical sense of how words animate opera, lend life to imaginary characters, and give human shape to music. Written from a lifelong devotion to the art, Gioia's book is for anyone who has wept in the dark of an opera house.