User:GuillaumeTell/Opera in fiction

Introduction
If you ever wanted proof of the old saying "Nothing exceeds like excess", this file should be of interest to you. For true opera buffs, it isn't enough to immerse themselves in opera on stage, screen and recording. The passion governs their tastes in reading as well. A recurring thread on "Opera in Fiction" on Opera-L drew an amazing response from the list members and led to the creation of this file, which is a listing of fictional works in which opera or singing is mentioned. It is interesting to note how many of the offerings are detective/mystery stories - an indication of a sinister mindset perhaps?

The sources are postings on Opera-L and various library catalogs. Entries from Charles H. Parson's An Opera Bibliography (published as volume 17 of the Mellen Opera Reference Index) have also been incorporated into the list.

Edited by: Sandra Alston, Mickie Fitton, Wendy Fuller-Mora, Bob Kosovsky

A-B

 * anon: Aus den Memoiren einer Saengerin
 * (Amsterdam: Privatdruck, 1851) 438 p. (Leipzig: G. Kiepenheuer, 1990) 2 v. = Translated into English and published as: Pauline: memoirs of a singer (Los Angeles, Holloway House Pub. Co. [1967]) 312 p.;  Promiscuous Pauline; or, The Memoirs of a German Opera Singer  (London: Luxor Press, 1971) 190 p.;  The Prima Donna (Paris: Ophelia Press, 1960) 234 p. = Translated into French and published as: Les Memoires d'une chanteuse allemande  (Paris: Bibliotháeque des Curieux, 1913) 285 p.   (Paris : Encre,  c1984) xxxvii, 221 p.
 * --- Pretended erotic autobiography of Wilhelmine Schroder-Devrient. The French editions contain an introduction by Guillaume Apollinaire.
 * Martha Albrand: Final encore
 * (New York: St. Martin's Press, 1978) 191 p.
 * Harry James Albus: The 'Deep River' girl: the life of Marian Anderson in story form
 * (Grand Rapids, MI: Wm. B. Erdmans Pub. Co., 1949) 85 p.
 * Kingsley Amis: The Alteration
 * (London: Jonathan Cape, 1976) 208 p. (New York: Viking Press, 1977) 210 p. (New York: Carroll & Graf Publishers, 1988) 204 p. Translated into Japanese by Hashimoto Hiroshi and published as: Kyosei (Tokyo: Sanrio, 1983) 350 p.
 * --- It is 1976, but owing to an alteration in history, a different 1976. Hubert Anvil, 10 years old, is a brilliant chorister and a candidate for castration. The story concentrates on the responses of the boy and his family to the proposed "honour". Some mention of opera, but not an essential part of the plot.
 * Oskar Paul Wilhelm Anwand: Die Primadonna Friedrichs des Grossen
 * (Berlin: R. Bong, 1930) 322 p.
 * --- Novel about Elisabeth Gertrud Schmeling Mara (1749-1833) and Friedrich the Great.
 * Laura Argiri: The God In Flight
 * (New York: Random House, 1994) 478 p.
 * --- a gay male love story set among 19th-century American academics. One of the main character's buddies is an aspiring tenor, and an older German "lavender gentleman" is also quite the musician. There are several references to operas, both as metaphors for emotional aspects of the story, and as plot devices.
 * Gertrude Atherton: Tower of Ivory
 * (New York: Macmillan, 1910) 466 p.
 * Honoré de Balzac: [various]
 * --- Balzac's Parisian characters are always running off to the opera (Les Buffons). The Buffons refers to the Italian Opera in Paris.
 * Robert Barnard: Death on the High C's
 * (New York: Dell, 1977) 210 p.
 * --- Detective/mystery story.
 * Robert Barnard: Death and the Chaste Apprentice
 * (London: Collins, 1989) 192 p. (New York: Scribner, 1989) 210 p.
 * --- Takes place at a summer opera festival, and I know Bob did scads of research on site. Both are delightful (and I second the general praise for Barnard). I particularly like, in the former, some of the incidental bits: the no-talent self-promoting Australian contralto; the moderately talented Italian soprano who because she got a Decca contract and a nice notice in GRAMOPHONE can now write her own ticket; and the statement to the effect that "Mimi-voices may not be exactly a dime a dozen, but England does rather breed them, like sheepdogs."
 * Eva Fanny Bernhardine Turk Baudissin, Grafin von: Wilhelmine Schroder-Devrient: der Schicksalsweg einer grossen Kunstlerin
 * (Berlin: Drei Masken Verlag, 1937) 265 p.
 * --- Novel about the singer Wilhelmine Schroder-Devrient (1804-1860).
 * Ines Castellani Fantoni Benaglio: Mario
 * (Milano: Baldini, Castoldi, 1906) 282 p.
 * Edward Frederic Benson: Queen Lucia
 * (London: Hutchinson, 1920) (New York: George H. Doran company, 1920) 331 p. (London: Heinemann, 1970) 310 p. (New York: Perennial Library, 1987)
 * --- First book of Benson's Lucia series, starring arch-snob Lucia, who is the undisputed leader of society in Riseholme. A major character is opera singer, Olga Bracely, who unintentionally badly upsets Lucia's applecart.
 * Edward Frederic Benson: Lucia in London
 * (London: Hutchinson, 1927) 288 p. (Garden City, N.Y.: Doubleday, Doran & company, 1928) 273 p. (London: Heinemann, 1968) 292 p. (Corgi, 1979) (Black Swan, 1984)
 * --- Book two of the Lucia series. Lucia, searching for new worlds to conquer, moves on to London, and tries unsuccessfully to bring Olga to heel. Luckily she has more success with duchesses.
 * Edward Frederic Benson: Trouble for Lucia
 * (London: Hodder & Stoughton, 1939) 288 p. (New York: Double, Doran & co, 1939) 309 p. (London: Heinemann, 1968) 294 p. (Black Swan, 1984)
 * --- Book six and last of the Lucia novels. Lucia is now married to Georgie and is Mayor-elect of Tilling, but is Tilling prepared to tolerate her pretensions. And why was Georgie entertaining Olga alone while Lucia was out of town? Will Lucia triumph in the end?
 * Siegfried Berger: Der Konig und die Sangerin: ein heiterer Roman
 * (Merseburg: F. Stollberg, 1942) 199 p.
 * Manfred Bieler: Der Madchenkrieg
 * (Stuttgart, Hamburg, Munchen: Deutscher Bucherbund, 1971) 567p. (Hamburg: Hoffmann und Campe, 1975) 567 p. = Translated by Katherine Talbot and published as: The Three Daughters (New York: St. Martin's Press, 1977, 1978) 352 p. (London: Hodder & Stroughton, 1978) 352p.
 * Dan Billamy: Opera House Murders
 * (London: Faber & Faber, 1940)
 * David Black: Murder at the Met
 * (New York: Dial Press, 1984) 214 p.
 * --- "Based on the exclusive accounts of Detectives Mike Struk and Jerry Giorgio of how they solved the Phantom of the Opera case."
 * Janos Bokay: Bohemek es pillangok
 * = Translated into German by Etelka von Laban and published as: Maestro Puccini: ein Leben in Melodien (Stuttgart: Schuler, 1964) 398 p.
 * Vance Bourjaily: Now playing at Canterbury
 * (New York: Dial Press, 1976) 518 p.
 * --- About producing a new opera at a thinly-fictionalized University of Iowa. A lot of fun.
 * Marion Zimmer Bradley: Night's Daughter
 * (London: Inner Circle, 1985) 204 p. (New York: Ballantine Books, 1985) 249 p.
 * --- About Pamina's childhood.
 * Marion Zimmer Bradley: The Forest House
 * (London: Penguin, 1993) (New York: Viking, 1994) 416 p.
 * --- Draws on themes from NORMA.
 * Richard Brickner: Tickets
 * (New York: Simon & Schuster, 1981) 254 p.
 * --- It's about an affair between an operaphiliac of an intensity level familiar to those on the list, and a married woman. The book is *saturated* with references to opera, and several scenes take place at the Met. The author is a New Yorker and the novel is set there and at the Met.
 * Carter Brown: The Savage Salome
 * (New York: New American Library of World Literature, 1960)
 * Anthony Burgess: Earthly powers
 * (London: Hutchinson, 1980) 648 p.
 * Dino Buzzati: Paura alla Scala
 * (Milano: A. Mondadori, 1993) 287 p.
 * --- (Fear at La Scala), a story by Italian author Dino Buzzatti, where the most brilliant people in the city go to attend a contemporary opera at the Milanese house and, like in a Bunuel movie, get stuck inside the lobby, afraid of an imaginary revolutionary strike. Very thrilling, indeed.
 * May Clarissa Gillington Byron: A day with Richard Wagner
 * (New York: Hodder & Stoughton, [1911]) [47] p.

C

 * James M. Cain: A Career in C Major (in the collection "Three of a Kind")
 * (New York: A. A. Knopf, 1944, c1943) 327 p.
 * James M. Cain: Serenade
 * (New York: Knopf, 1939 [c1937]) 314 p.
 * --- Although best known as the writer of "Double Indemnity," "The Postman Always Rings Twice," and other hard-boiled fiction, Cain also wrote a long short story, "A Career in C Major," and a novella, "Serenade," both about baritones. I reccommend them both highly. The first is about an out-of-work contractor who starts taking voice lessons as revenge against his shallow socialite wife; the second is about a washed-up baritone who winds up in Mexico and takes up with a prostitute. Cain knew a great deal about music and singing -- when you read his passage in "Career" about singing "Di provenza," or in "Serenade" about McCormack singing Haendel, you cannot believe that he did not study singing himself. Both are written in his distinctive tough-guy voice, which is unusual and refreshing in this genre; in fact, both stories describe the conflicting feelings of the male opera singer about his masculinity, which makes the hardboiled language seem very appropriate.
 * James M. Cain: Mildred Pierce
 * (New York: Knopf, 1941) 388 p.
 * --- Cain was married to a soprano, Florence Macbeth. He certainly knew about singing. I do believe he studied voice himself, though I'm not sure he ever had either professional aspirations or possibilities. It's worth noting that in the novel "Mildred Pierce" (which to my mind is Cain's greatest work), Veda is a coloratura soprano. The film changes this (and much more) -- Veda becomes a performer in a sleazy nightclub, which effectively negates a significant part of Cain's point: she aspires to a different class than her chicken-restaurant-owning mother. (Of course, the movie is superb in its own right, and features Joan Crawford in what might be her signature role in her 1940s persona. Jack Carson and Eve Arden are also fabulous; Ann Blyth [Veda] less so.
 * Joseph Caldwell: The uncle from Rome
 * New York: Viking, 1992) 288 p.
 * --- American Michael Ruana is in Naples to direct and star in Curlew River and to take the part of Spoletta in Tosca. As a favour to the soprano portraying Tosca he pretends to be the "uncle from Rome" at a local wedding. (Tradition has it that the uncle lends prestige to the occasion). The climax takes place during the last act of Tosca. A novel about the interplay of life and art.
 * Paola Capriolo: Vissi d'amore
 * Milano: Bompiani, 1992) 121 p. = Translated into English by Liz Heron and published as: Floria Tosca (London; New York: Serpent's Tail, 1997) 139 p.
 * --- A diary kept by Scarpia in which he reveals the complex sexual-theological motivation behind his obsession with Tosca
 * Roger M. Carew: The Contralto
 * (Boston: Richard G. Badger; The Gorham Press, 1912) 339 p.
 * John Stewart Carter: Full fathom five
 * (Boston: Houghton-Mifflin, 1965) 246 p.
 * --- This novel is a fairly heavily autobiographical set of three interconnected stories about growing up in an immensely wealthy Chicago family, which, among other things, had sponsored the opera there One of the stories is "To A Tenor Dying Old", about the narrator's memories of a great tenor who had been close to his family, close enough to have been his grandmother's lover back in the teens and twenties of the century Since much else in the novel is based on real life (a thinly-veiled Lotte Lehmann makes an appearance), I'm wondering if anyone can spot the tenor the character is based on. Other details: the character grew up as a poor shepherd in Tuscany, moved to America circa 1900, studied in Chicago, had a career there and at La Scala in the teens, 20's, 30's; spent the war in Buenos Aires, and died in retirement in Mexico City. The book is long out of print, but I'll be happy to supply more info if anyone cares to pursue this odd little puzzle. (It's a pretty good book.)
 * Willa Cather: The song of the lark
 * (Boston, New York, Houghton Mifflin, 1915) 489p. (Boston: Houghton Mifflin, 1988) 417 p
 * --- A novel partly inspired by Cather's acquaintance with Olive Fremstad but which also includes a good deal of biographical self-projection in its portrait of the artist as a young girl/woman is a good book though it frustratingly jumps over her years of professional development in Germany. Cather was a dedicated music amateur, and she ably evokes the world of music study and then performance.
 * Willa Cather: Lucy Gayheart
 * (New York: Knopf, 1935)
 * --- Shy heroine becomes the accompanist to a famous singer
 * Willa Cather: A Wagner matinee
 * [short story in various collections]
 * Frances Cavanah: Two loves for Jenny Lind
 * (Philadelphia: Macrae Smith, 1956) 207 p.
 * Rodolfo Celletti: Tu che la vanità
 * (Milano: Rizzoli, 1981) 247p.
 * Robin Close: The Boheme combination
 * (London: Joseph, 1973)
 * Francis Marion Crawford: The Diva's Ruby
 * (London: Macmillan, 1908) 439 p.
 * --- Third in a series of three.
 * Francis Marion Crawford: The Primadonna
 * (New York: Macmillan, 1908) 396 p.
 * --- Second in a series of three. For a sequel see "The Diva's Ruby."
 * Francis Marion Crawford: Soprano
 * (London, New York: The Macmillan company, 1905) 388 p.
 * --- First in a series of three; for a sequel, see "The Primadonna."
 * Edmund Crispin: Swan Song. Originally published 1947.
 * --- Takes place around a touring production of MEISTERSINGER in post-WW II England (the first restoration of Wagner after the cessation of hostilities).

D

 * Mary Daheim: Bantam of the Opera
 * (New York: Avon, 1993)
 * --- A mystery, somewhat boring.
 * Marcia Davenport: Of Lena Geyer
 * (New York : Scribner, 1936) 473p.
 * --- One of the most addictive "fictional prima donna" novels, (Mme Geyer is actually more Lilli Lehmann than Alma Gluck -- as often in such endeavors, Lehmann herself is placed in the story as a character in order to throw off the scent.) It's an irresistible wallow.
 * Marc David: Farinelli: Memoires d'un castrat
 * (Paris: Perrin, 1994) (also available in German translation)
 * Robertson Davies: The Lyre of Orpheus
 * (Macmillan, Canada, 1988) 472p.
 * --- The philanthropic Cornish Foundation decides to fund an opera begun by E.T.A. Hoffman just before his death, but first it has to be completed. How all this is done makes for a very amusing and interesting novel from a man who clearly knew what he was writing about. And then there is poor old Hoffman himself, stuck in Limbo until his work is satisfactorily completed. Book 3 of The Cornish trilogy.
 * Robertson Davies: The Manticore
 * (Toronto: Macmillan, 1972) 280 p. (New York: Viking Press, 1972) 310 p. (New York: Penguin, 1976) 310 p.
 * --- Book 2 of The Deptford trilogy. David Staunton, lawyer and alcoholic, goes to Vienna to consult with psychiatrist Dr von Haller in order to straighten out the mess his life has become. Opera mentioned on a number of occasions, and in particular he remembers a schoolgirl production of a Mendelssohn opera/operetta Son and Stranger which starred love of his life Judy Wolff.
 * Robertson Davies: A Mixture of Frailties
 * (Toronto: Macmillan, 1958) (New York: Scribner, 1958) 379 p. (New York : Everest House, 1979) 361 p.
 * --- Mrs. Louisa Bridgetower reaches from beyond the grave to control the life of her son. Before he can inherit he must produce a male heir, and until then, all the income from his mother's estate must go for the education and training in the arts of some young female resident of Salterton. Monica Gall, an aspiring singer, is the recipient. Book 3 of The Salterton trilogy.
 * Kathryn Davis: The Girl Who Trod on a Loaf
 * (New York : Knopf : Distributed by Random House, 1993) 399p.
 * --- Although the plot roughly revolves around a fictional opera, the book is the story of two very different women contending with themselves and with each other, this is as well a short course in the opera, a kind of sexual history of the twentieth century, and a philosophical--even religious--passage from despair towards redemption
 * Ken Davis: The Forza Trap
 * (New York: Avon, 1979)
 * Mary Deasy: Ella Gunning
 * (Boston: Little, Brown, 1950) 336 p.
 * --- A soprano tries to choose between marriage and career.
 * Delacorta (Daniel Odier): Diva
 * (Paris: Seghers, 1979) 165 p. = Translated into English by Lowell Bair and published as: Diva (London : A. Lane, 1984) 143 p. (New York: Summit Books, 1983) 143 p.
 * --- The book which served as the basis for the movie of the same name.
 * Georges Delaquys: La naissance de Tristan
 * (Paris : L'Illustration, 1937) 34 p.
 * --- From La petite illustration ; no. 810, 20 fâevrier 1937 : Theatre [nouv. sâer.] ; no. 406)
 * Colin Dexter: The Inspector Morse series
 * --- Nearly all the "Inspector Morse" books include references to operas and one or two of which revolve around amateur productions of operas.
 * Michael Dibdin: Cosi Fan Tutti
 * (New York: Pantheon, 1997)
 * --- A murder mystery with clever parallels to the plot of Mozart's opera.
 * Klemens Diez: Constanze-- gewesene Witwe Mozart
 * (Lewiston, N.Y.: Edwin Mellen Press, 1991) 272 p. = Translated into English and annotated by Joseph T. Malloy and published as: Constanze, formerly widow of Mozart : her unwritten memoir
 * Carole Nelson Douglas: Good Morning, Irene
 * (New York: Tom Doherty Associates, 1991, c1990) 374 p.
 * Carole Nelson Douglas: Good Night, Mr. Holmes
 * (New York : T. Doherty Associates Book, 1990) 408 p.
 * Carole Nelson Douglas: Irene at Large
 * (New York: TOR, 1992) 381 p.
 * --- The three books above are based on Doyle's "Scandal in Bohemia" opera singer, Irene Adler. The first is a very clever rewrite of Scandal in Bohemia from Irene's point of view, instead of Holmes. The others follow more adventures of the central character as she gets into situations and solves mysteries around Europe, always with her opera career in the background.
 * Arthur Conan Doyle: A Scandal in Bohemia
 * (New York: G. Munro's sons, 1895)
 * --- From The Adventures of Sherlock Holmes first published in "The Strand" July 1891 and December 1892. Sherlock Holmes's encounter with the beautiful retired opera diva, Irene Adler. (See also author Carole Nelson Douglas, above)
 * Fortune du Boisgobey: The Crime of the Opera House
 * (Paris: Plon, 1879), (Paris: J. Rouff et cie, [1886?]), 1158 p. = (New York: G. Munro, 1881) Translated into English and published as: The crime of the opera house
 * --- Quite a rare book.
 * Diane Duane: The Book of Night with Moon
 * (New York, NY : Warner Books, 1997) 390 p.
 * --- This is a science fiction story set in New York in which cats are the main figures. One of the cats loves opera, and he drags a long-suffering friend along to a rehearsal...
 * George Du Maurier: Trilby
 * (London: J.M. Dent & Sons, 1931) (London : Penguin Books, 1994) 290p.
 * --- First published 1894, artists' model Trilby is transformed into a brilliant singer by the power of hypnosis, a victim of the evil Svengali. One of the most popular novels of all time. It is said that Herbert Tree built Her Majesty's Theatre in London entirely from the profits of the first stage version.
 * Jane Duncan: My Friends from Cairnton
 * (London: Macmillan, 1966) 246p.
 * --- Economic necessity forces Duncan Sandison to leave his family croft with ten year old daughter Janet. In Cairnton, one of the friends Janet makes is Kathleen Malone, destined to become a great singer. The story continues into Janet's adult life when a visit from Kathleen indirectly causes some major problems. One of a series of semi-autobiographical novels.
 * Dorothy Dunnett: The Photogenic Soprano
 * (Boston: Houghton, Mifflin, 1968) 311 p. Retitled: Dolly and the Singing Bird (London: Cassell, 1968) (Harmondsworth: Penguin, 1984) 217 p. Retitled as: Rum Affair ([London?]: Arrow, 1991) 311 p. = Translated into German by Uwe Anton and published as: Dolly und der Singvogel (Frankfurt/M: Ullstein, 1986) 237 p.
 * --- Espionage in Scotland with Dunnett's usual enigmatic sailor, portrait painter, Johnson Johnson who this time is encountered by the world's leading coloratura soprano, Tina Rossi, in Scotland for the Edinburgh Festival.

E-F

 * Erich Ebermayer: Die goldene Stimme
 * (Hamburg, Wien: Paul Zsolnay, 1958) 342 p.
 * Anne Edwards: La Divina
 * (New York: William Morrow, 1994) 394 p.
 * --- "A novel about the passionate and tragic life of a world-renowned opera diva, inspired by the life of Maria Callas." - Dust jacket
 * George Eliot: Daniel Deronda
 * (New York: Harper, 1876)
 * Peter Berresford Ellis: The Druids
 * --- The dedication reads: "This book would not have been written had it not been for the inspiration caused by a Sunday afternoon's radio broadcast of Vincenzo Bellini's opera 'Norma'."
 * Dominique Fernandez: Porporino, or the Secret of Naples
 * (New York: Morrow, 1976)
 * --- About a castrato.
 * Kurt Arnold Findeisen: Flugel der Morgenrote
 * (Berlin: Verlag der Nation, 1956) 411 p.
 * --- "Ein Dresdener Roman."
 * Grete Fink-Tobich: Mir erkoren, mir verloren
 * (Graz, Stuttgart: L. Stocker, 1963) 443 p.
 * --- "Richard Wagners Begegnung mit Mathilde Wesendonck."
 * M. F. K. Fisher: A Town in Provence
 * (part of an essay - opera scenes)
 * Gustave Flaubert: Madame Bovary
 * (First published 1857)
 * --- Emma Bovary is the wife of a doctor. She is seduced after a performance of Lucia di Lammermoor in Rouen.
 * E. M. Forster: Where Angels Fear to Tread
 * (Edinburgh and London, W. Blackwood and sons, 1905) 319 p.  (New York: Dover, 1993) 117 p.
 * --- Describes the effects on a conservative English family after a disastrous trip to Italy. Includes some interesting opera-going incidents.
 * Helena von Fortenbach: Wahn und Wahrheit
 * (Berlin: M. A. Klieber, 1961) 388 p.
 * --- "Ein Roman um Konig Ludwig II von Bayern."
 * Jessie Fothergill: The First Violin
 * New York: H. Holt and Company, 1878) 432 p.
 * --- The story is about a young auburn-haired English girl, May Wedderburn, who has a lovely untutored voice. May is pursued by a villainous aristocrat, so a kindly relative sends her off to Germany. She winds up in a town called Elberthal (is there such a town?) and goes to a "haupt-probe" at the "Tonhalle," where the famous director Herr von Francius is rehearsing Rubenstein's "Verlorenes Paradies." She tries out and her voice stuns all, and von Francius winds up coaching her. May has already met--and in one day has fallen in love with--Eugen Courvoisier, the first violin, but he ignores her. She practices (she is at first not very good at singing/acting Eve's conflicting passions) she goes to rehearsals, she attends a performance of Lohengrin. She has a lot of elation, dejection and so forth with regard to the mysterious Eugen. Toward the end she is standing on the Elberthal boat-bridge in a storm when she hears (how strange!) someone humming the "wild March from Lenore." It is noble Eugen, whom she has not seen in a year. The boat-bridge breaks free, and they drift down the river, exchanging heart-rending confidences. How could this happen? She had only come back to Elberthal to go to a performance of the "Flying Dutchman." She had thought Eugen lost in the (Franco-Prussian) war. And so on, with a suitably happy ending, though on a somewhat mournful note, not unlike the muted tone of the ending of Jane Eyre.
 * Arnaldo Fraccaroli: Bellini
 * (Verona: Casa Editrice Mondadori, 1942) 330 p.  (Verona: A. Mondadori, 1945) 330 p. = Translated into Spanish and published:   (Barcelona: Caralt, 1953) 363 p.
 * Arnaldo Fraccaroli: Donizetti
 * (Milano: A. Mondadori, 1945) 350 p.
 * Don Freeman and Lydia Freeman: Pet of the Met
 * (New York: Puffin Books, 1953)
 * -- A children's story concerning a family of mice living in the old Met, and their adventures in a production of The Magic Flute.
 * Nancy Freedman: Prima Donna
 * (New York: William Morrow, 1981) 320 p.
 * --- "...enters the life and heart of an incomparable opera start and takes us backstage to a turbulent, colorful world behind the velvet curtains." - Dust jacket
 * Max Frisch: Mein Name sei Gantenbein
 * (Frankfurt am Main: Suhrkamp, 1964) 495 p.  (Frankfurt am Main: Fischer Bucherei, 1968) 310 p.  = Translated into English by Michael Bullock and published as: A Wilderness of Mirrors   (New York, Random House [1966, c1965]) 304 p.  (Bullock. London, Methuen [1965]) 304 p.
 * --- one of the female characters is reported to be rapturously listening to a "Don Giovanni" recording with Fischer-Dieskau. (Frisch was a Fischer-Dieskau fan.)
 * Kurt Frischler: Der Maestro: Roman
 * (Wien, Munchen, Zurich: Molden, 1976) 382 p.
 * Rene Fulop-Miller: Katzenmusik
 * (Wien: H. Reichner, 1936) 245 p. = Translated into English by Richard Winston and published as: Sing, Brat, Sing (New York: H. Holt and company, 1947) 191 p.

G-H

 * John Gano: Death At The Opera
 * Paul J. Gillette: Carmela
 * Oskar Gluth: Der verhexte Spitzweg
 * Thomas Godfrey (ed): Murder at the Opera
 * Curt Goetz: Die Tote von Beverly Hills...
 * Lawrence Goldman: The Castrato
 * Umberto Gozzano: Rossini; il romanzo dell'opera
 * Elizabeth Caroline Grey: The young prima donna: a romance of the opera
 * Karen Harbaugh: The Vampire Viscount
 * Macdonald Harris: Herma
 * Andrew Harvey: Burning Houses
 * Josef Haslinger: Opernball
 * William James Henderson: The Soul of a Tenor: a Romance
 * Hermann Hesse: Gertrud
 * Patricia Highsmith: The Boy Who Followed Ripley
 * John Spencer Hill: The last castrato
 * Ernst Theodor Amadeus Hoffman: Ritter Gluck: eine Erinnerung aus dem Jahre 1809
 * Tom Holt: Expecting Someone Taller
 * Tom Holt: Flying Dutch
 * James Huneker: Painted Veils

I-K

 * Ingo Insterburg: Das leben des Otto Darmstadt
 * John Irving: The Hotel New Hampshire
 * Anna Jacobson: Nachklange Richard Wagners im Roman
 * Ottokar Janetschek: Die Primadonna: ein Mozartroman
 * Fred G. Jarvis: Murder at the Met
 * Robert F. Joseph: The Diva
 * James Joyce: Ulysses
 * Stuart Kaminsky: Poor Butterfly
 * Carol J Kane: Diva
 * Susan Kay: Phantom
 * Terry Kay: Shadow Song
 * H. R. F. Keating: Death of a Fat God
 * Doris Parkin Keil: The Ploughboy and the Nightingale
 * Jane Kingsford ([pseudonym of Charles Barnard]): The Soprano: a Musical Story
 * James Kirkwood, Jr.: Good Times/Bad Times
 * Gustav Kobbé: Signora, a child of the opera house
 * Zdenko von Kraft: Abend in Bayreuth: Roman
 * Zdenko von Kraft: Wahnfried: ein Richard-Wagner-Roman
 * Max Kronberg: Feuerzauber: ein Lebens-Roman Richard Wagners
 * Max Kronberg: Konig und Kunstler: Roman Konig Ludwigs II. und Richard Wagner
 * Max Kronberg: Der Sieg der Melodie: ein Puccini-Caruso-Roman
 * Joachim Kuupsch: Ein Ende in Dresden: ein Richard-Wagner-Roman

L

 * Maria Lang (pseudonym of Dagmar Lange): Camilla vid skiljevagen
 * Fritz Lange: Johann Strauss, der Walzerkonig
 * Lillian Lauferty: Baritone
 * Lilian Lee (Pi-hua Li): Farewell My concubine
 * Lotte Lehmann: Orplid, mein Land
 * Donna Leon: Death at La Fenice
 * Gaston Leroux: Phantom of the Opera
 * Endre Levai & Endre Barat Levai: La vie fantastique de Caruso: Roman
 * William Lewis: Gala
 * Shariann Lewitt: Interface Masque
 * Matthias Lichtenfels: Ludwig II, König von Bayern
 * LoCoco, Vincent: ]]Tempesta's Dream - The inspirational story of an aspiring tenor from Milan.]]
 * Charles Ludlam: Galas

M

 * Alfred Machard: Une vie d'amour: Puccini
 * Joseph Machlis: The Career of Madga V
 * Charlotte MacLeod: The Plain Old Man
 * Gladys Malvern: Blithe genius: the story of Rossini
 * Klaus Mann: Vergittertyes Fenster
 * Thomas Mann: Tristan
 * Thomas Mann: Wälsungenblut
 * Queena Mario: Death drops Delilah
 * Queena Mario: Murder in the opera house
 * Queena Mario: Murder meets Mephisto
 * Ngaio Marsh: Photo finish
 * Armistead Maupin: Tales of the City
 * Julian May: Jack the Bodiless
 * Martin Mayer: A Voice That Fills the House
 * James McCourt: Mawrdew Czgowchwz
 * Brown Meggs: Aria
 * Robert Merrill and Fred G. Jarvis: The Divas
 * Nicholas Meyer: The Canary Trainer
 * Grant Michaels: Mask for a Diva
 * Edith Mikeleitis: Der grosse Mittag
 * George Moore: Evelyn Innes
 * Ethan Mordden: The Venice Adriana
 * Max Moser: Richard Wagner in der englischen Literatur des XIX. Jahrhunderts
 * Iris Murdoch: A Fairly Honourable Defeat
 * Thomas Murphy: The Gigli Concert
 * William Murray: When the Fat Man Sings
 * Henry Myers: The Signorina

N/O

 * Roy Nash: Sing, my poor heart
 * Beverley Nichols: Evensong
 * Hans Nowak and Georg Zivier: Die Macht des Schicksals: ein Verdi-Roman
 * Kate O'Brien: As Music and Splendour
 * Eduard Marie Oettinger: Rossini
 * Conrad L. Osborne: O Paradiso

P

 * Ann Patchett: Bel Canto
 * Barbara Paul: A Chorus of Detectives
 * Barbara Paul: A Cadenza for Caruso
 * Barbara Paul: Prima Donna at Large
 * Laurence Payne: Vienna Blood
 * Diane Pearson: Voices of Summer
 * Ursula Perrin: Unheard Music
 * Ellis Peters: Funeral of Figaro
 * Ellis Peters: The Horn of Roland
 * Ellis Peters: The House of Green Turf
 * Ellis Peters: The Will and the Deed
 * Audrey Peterson: Deadly Rehearsal
 * Frederick Pohl: Outnumbering the Dead
 * Terry Pratchett: Maskerade
 * Wilhelm Pultz: Die Geburt der deutschen Oper
 * James Purdy: Out with the Stars
 * Barbara Pym: The Sweet Dove Died

R

 * Heribert Rau: Carl Maria von Weber
 * John Reeves: Murder with Muskets
 * Hans Reisigner: Unruhiges Gestirn: Die Jugend Richard Wagners
 * Pierre-Jean Remy: Cordelia ou l'Angleterre
 * Pierre-Jean Remy: La mort de Floria Tosca
 * Pierre-Jean Remy: Salue pour moi le monde
 * Anne Rice: Cry to Heaven
 * Henry Handel Richardson: The young Cosima
 * Hermann Richter: Das wilde Herz
 * Blanche Roosevelt: Stage-struck; or She would be an Opera Singer
 * Kate Ross: The Devil in Music
 * Anneliese Rothenberger: In mir klingt ein Lied: die schonsten Geschichten aus der Welt der Musik
 * Jean Rousselot: La vie passionnee de Wagner

S

 * Pitts Sanborn: Prima donna, a Novel of the Opera
 * George Sand: La Comtesse de Rudolstady
 * George Sand: Consuelo
 * Heinrich Satter: Angelica Catalani: Primadonna der Kaiser und Konige
 * Phillip Scott: One Dead Diva
 * Eugène Scribe: Carlo Broschi: nouvelle historique
 * Alberic Second: Les petits mysteres de l'Opera
 * Sam Siciliano: The Angel of the Opera
 * Alphons Silbermann: Das imaginare Tagebuch des Herrn Jacques Offenbach
 * Gerald Sinstadt: The Fidelio Score
 * Kay Nolte Smith: Elegy for a Soprano
 * Susan Sontag: The Volcano Lover
 * Susannah Stacey: A Knife At The Opera
 * Edward Stewart: Ariana
 * Lene Stuhlfaut: Nur wer durch Feuer bricht
 * Gladys Swarthout: Come Soon, Tomorrow

T-Z

 * Frank Thiess: Caruso: Roman einer Stimme
 * Frank Thiess: Der Tenor von Trapani
 * Roderick Thorp: Jenny and Barnum: A novel of love
 * Leo Tolstoy: War and Peace
 * Helen Traubel: The Metropolitan Opera Murders
 * Anthony Trollope: The Landleaguers
 * Carl Van Vechten: Interpreters and Interpretations
 * Jules Verne: Une Fantasie du Docteur Ox
 * Barbara Vine: No Night is Too Long
 * Franz Werfel: Verdi: Roman der Oper
 * Edith Wharton: The Age of Innocence
 * Kirby Williams: The Opera Murders
 * Audrey Williamson: Funeral March for Siegfried
 * Chelsea Quinn Yarbro: Music when Sweet Voices Die (aka False Notes)

Source for Bibliography (G-Z)
Gano, John Death At The Opera (New York: St. Martin's Press, 1996) 199 p.

Gillette, Paul J. Carmela (New York: Arbor House, 1972) 349 p.

Gluth, Oskar Der verhexte Spitzweg (Leipzig: L. Staackmann, 1928) 331 p.  (Bamberg: Staachmann, 1960) 331 p.   (Munchen: L. Staackmann, 1974) 251 p. --- "Ein heiterer Munchner Roman."

Goetz, Curt Die Tote von Beverly Hills...  (Munchen: Deutscher Taschenbuch Verlag GmbH & Co. KG, 1969) 151 p. --- A young German girl at her first opera performance conceives an overwhelming passion for the tenor and the two conduct a serious affair, during which he may attempt to educate her. The ending of the affair leads to the events which culminate in the corpse in California. The nature of the erotic, first demonstrated in the immediate response of the girl to the performer, is an aspect of the novel that is important also in opera.

Goldman, Lawrence The Castrato (New York: John Day, 1973) 264 p. --- A fictionalized biography of Farinelli. I read the opening chapter, really a prologue, and the next chapter, which was a description of how they did it to him. After I finished feeling sick I refused to read on. My mistake. I DO remember the prologue as rather effective: some forgotten opera being produced in London, the usual opening chorus of woodsy mythological creatures, and then Goldman describes this voice like a soprano trumpet heard first in the wings, sustaining and modulating a single, soaring note as Farinelli himself enters. He sings an impossible aria and is rewarded with the near hysteria of the London audience: women faint, etc. The chiller is at the very end of the chapter: some overenthusiastic patron shouts "Evviva il cotello! Evviva il benedetto cotello!" followed by a description of the sad smile that crosses Farinelli's face as he bows in the direction of the voice. It provides the perfect segue to the chapter describing his ruined childhood.

Gozzano, Umberto Rossini; il romanzo dell'opera (Torino: G. B. Paravia, 1955) 199 p.

Grey, Mrs. (Elizabeth Caroline) (Philadelphia, E. Ferrett, 18--) 112 p. --- The young prima donna: a romance of the opera

Harbaugh, Karen The Vampire Viscount (Signet, 1995) --- It's a combination Regency Romance/SciFi. During a performance of the opera, the viscount in question muses on the nature of Don Giovanni and his relationship with women. I was also informed that in the Regency genre the characters attend the opera quite often.

Harris, Macdonald Herma (New York: Atheneum, 1981) 431 p. --- An enjoyable saga, some of which is set in the Parisian opera world at the turn of the century. Jacket praise from James McCourt (see below) should be recommendation enough.

Harvey, Andrew Burning Houses (Boston: Houghton Mifflin, 1986) 214 p. --- A superb and serious novel with an outrageous and unforgettable main character, Adolphe, who refers to Callas and opera to solve the gay young hero's problems.

Haslinger, Josef: Opernball (Fischer Taschenbuch, 1997) (Fischer, S, 1995) --- It is a novel about a terroristic gas attack to the Vienna State Opera during the yearly Opernball. It was a huge success in German-speaking countries both with the public and critics.

Henderson, W. J. The Soul of a Tenor: a Romance (New York: Henry Holt, 1912) 366 p. --- Author was distinguished music critic of The Sun and wrote many books on opera, Wagner.

Hesse, Hermann Gertrud (Munchen: A. Langen, 1910) 301 p. = Translated into English by Hilde Rosner and published: (New York: Farrar, Straus and Giroux, 1969) 237 p. --- A fairly short, poetic, very romantic, philosophical and also tragic in which music and opera in particular plays an essential part. His story is so vivid that I found myself daydreaming about that small German town, Gertrud, the tenor and the musician.

Highsmith, Patricia The Boy Who Followed Ripley

--- There is a little vignette in which the boy in question gives Tom Ripley a Fischer-Dieskau Lieder recording and it is revealed that Tom Ripley is an F-D fan. (I wouldn't take this as a compliment, but F-D does. He's a big Patricia Highsmith fan.)

Hill, John Spencer The last castrato (St. Martin's Press, 1995) 269 p. --- This murder-myster centres on the adventures of an woman American doctoral student in Florence who is researching the contribution of the Camerata to early opera. It is appropriately light enough... The author is a professor of English at one of the universities here in the National Capital Region of Canada (the University of Ottawa). My initial impression is that the details regarding the Florence setting have been well researched, although I am still puzzling over the reference to the conductor coaching the French horns during a rehearsal of Orfeo.

Hoffman, Ernst Theodor Amadeus Ritter Gluck: eine Erinnerung aus dem Jahre 1809 (Dortmund: W. Cruwell, 1961) 32 p. --- Fiction.

Holt, Tom Expecting Someone Taller (London: Orbit, 1987) (New York: St. Martin's Press, 1987) 218 p. --- Malcolm Fisher accidentally kills Ingolf, last of the giants, and winds up with ring, tarnhelm etc and no idea of their use or history. No opera lover, he resorts to studying the Ring cycle to learn a little of the legends, but meanwhile, Alberich, Wotan and friends are in hot pursuit. Very humorous.

Holt, Tom Flying Dutch (New York: Ace Books, 1996) 256 p. The Dutchman is still returning to Great Britain. He could cause a major financial upheavel if he tries to collect his interest.

Huneker, James Painted Veils (New York: Liveright, 1920) 310 p. --- A wonderful evocation of artistic life in turn-of-the-century New York City by the noted music critic. Filled with musical and operatic references.

Insterburg, Ingo Das leben des Otto Darmstadt (Leer: Rautenberg, 1973) 283 p.

Irving, John The Hotel New Hampshire (New York: Dutton, 1981) 401 p. --- How do you describe a John Irving novel? Another dysfunctional family, their lives and loves. Part of the book is set in Vienna near the Staatsoper. Opera in general, and Lucia di Lammmermoor in particular are featured.

Jacobson, Anna Nachklange Richard Wagners im Roman (Heidelberg: C. Winter, 1932) viii, 134 p. --- Not fiction but a discussion of Richard Wagner in fiction. (see also: Moser, Max)

Janetschek, Ottokar Der Konig und sein Meister (Wien: Kremayr & Scherian, 1952) --- Ein Roman um Ludwig II. von Bayern und Richard Wagner.

Janetschek, Ottokar Die Primadonna: ein Mozartroman (Wien: Kremayr & Scheriau, 1956) 327 p.

Jarvis, Fred G. Murder at the Met (New York: Coward-McCann, 1971) 237 p.

Joseph, Robert F. The Diva (New York: Berkley Medallion, 1975) 312 p. --- An original paperback novel whose cover reads "...the story of that poor but beautiful and talented girl who rose to become the greatest diva on two continents."

Joyce, James Ulysses (New York: Modern Library, 1934) 767 p. --- Molly Bloom is an opera singer and the work is full of operatic references.

Kaminsky, Stuart Poor Butterfly (New York: Mysterious Press, 1990) 179 p. --- Set in San Francisco in the 40s (?) with (better sit down for this one) Toscanini as a "man with a Secret."

Kane, Carol J Diva (New York: HarperCollins, 1990) 487 p.

Kay, Susan Phantom (New York: Delacorte Press, 1991) 458 p. --- Prequel to Leroux's Phantom of the Opera.

Kay, Terry. Shadow song (New York: Pocket Books/Simon & Schuster, 1994) 388 p. --- Offbeat story of Avrum Feldman's lifelong obsession with Amelita Galli-Curci, and his effect on the life of Madison Lee "Bobo" Murphy, with whom he shares his story in the summer of 1955 when Bobo is 17 years old and in love for the first time.

Keating,, H.R.F. Death of a Fat God (New York: Dutton, 1966) 256 p.

Keil, Doris Parkin The Ploughboy and the nightingale (Toronto: Copp Clark, 1958) 304p. --- Fiction about Jenny Lind.

Kingsford, Jane The Soprano: a Musical Story (Boston: Loring, 1869) 179 p.

Kirkwood .James Good Times/Bad Times (New York: Ballantine, 1983) 288 p. --- Not a novel about opera by any means but the passages about being obsessed with the Bjoerling Calaf certainly hit home. The kind of stuff that makes you want to highlight it and write "this is true" in the margins.

Kobbe, Gustav Signora, a child of the opera house (New York: R. H. Russell, 1902) 200 p.  (New York: T. Y. Crowell, 1907) 205 p.

Kraft, Zdenko von Abend in Bayreuth: Roman (Berlin: Hyperion-Verlag, 1943) 530 p.

Kraft, Zdenko von Wahnfried: ein Richard-Wagner-Roman (Berlin: Globus, 1921) 353 p.  (Leipzig, Zurich: Grethlein, 1922) 353 p.

Kronberg, Max Feuerzauber: ein Lebens-Roman Richard Wagners (Leipzig: Koehler & Amerlang, 1932) 284 p.

Kronberg, Max Konig und Kunstler: Roman Konig Ludwigs II. und Richard Wagner (Leipzig: Otto Janke, 1937) 333 p.

Kronberg, Max Der Sieg der Melodie: ein Puccini-Caruso-Roman (Leipzig: Koehler & Amelang, 1935) = Translated into Latvian by Tulkojis E. Feldmanis and published as: Pucini un Karuzo dzives romans: melodijas uzvara (Riga: Gramatu Draugs, 1936)

Kuupsch, Joachim Ein Ende in Dresden: ein Richard-Wagner-Roman (Berlin: Henschelverlag, 1964) 206 p.  (Berlin: Henschelverlag, 1978) 202 p.

Lang, Maria [pseudonym of Dagmar Lange] Camilla vid skiljevagen Stockholm : Norstedt, 1978) 237 p. --- One of a string of detective stories whose hero (Christer Wijk, chief of the Swedish National Criminal Investigation Central, a Swedish parallell to FBI or Scotland Yard) is married to a fictious international opera star named Camilla Martin, a dramatic soprano with successful engagements all over the globe, particularly, it seems, in the 'jugendlich-dramatisches' fach. Quite a bit of the action takes part in operatic surroundings, especially in the Royal Swedish Opera House, and the author makes use of quite extensive (and somewhat ostentatious) name-dropping, so that Birgit Nilsson, Margareta Hallin, Göran Gentele, Elisabeth Söderström, Mari-Ann Haggander, Ingvar Wixell, Hakan Hagegard and quite a few lesser stars appear in the wings (but not, to my knowledge, Jussi B.) A recurrent theme is the conflict between the hero's occupation and his wifes international career, which she in the umpteenth book sacrifices on the altar of matrimonial happiness (and after a vocal crisis).

Lange, Fritz Johann Strauss, der Walzerkonig. Ein Roman (Berlin: R. Bong, 1925) 353 p.

Lauferty, Lillian Baritone (Garden City, NY: Doubleday & Co., 1948) 276 p. Lehmann, Lotte Orplid, mein Land (Wien: H. Reichner, 1937) 252 p.

Leon, Donna Death at La Fenice (New York: HarperCollins Publishers, 1992) 263 p. --- A mystery novel that has an operatic theme and involves a conductor who seems to be a take-off on Herbert von Karajan.

Leroux, Gaston = Translated into English and published as: Phantom of the Opera = Translated into German by Rudolf Brettschneider and published as: Das phantom der oper (Munchen: A. Langen, 1912) 459 p. --- Did we mention the obvious Gaston Leroux 's ' Phantom of the Opera ' which is mostly taking place at the Opera Garnier and dreadful things happen during a performance of Faust.

Levai, Endre & Endre Barat La vie fantastique de Caruso: Roman (Paris: Les Editions Artistique et Dcoumentaires, 1946) 224 p. --- Franch "translation" of a spurious "American" edition.

Lewis, William Gala (New York: Dutton, 1987) 246 p. New York, Toronto: Paper Jacks, 1989) 246 p. = Translated into Spanish by Isabel de Miguel and published as: Gala  (Barcelona: Ediciones B, 1987) 279 p. --- The author is the well-known tenor.

Lewitt, Shariann Interface masque (New York: Tor, 1997) 350 p. --- Set in Venice (future) in which powerful houses of computer information specialists manage the world's datastream. Powerful choirs using especially chosen opera and choral music sing to increase intelligence and control political situations. One villain in the story is jazz music.

Li, Pi-hua Pa-wang pieh Chi = Translated into English by Andrea Lingenfelter and published as: Farewell to my concubine: a novel by Lilian Lee (New York: W. Morrow, 1993) 225 p. --- The basis for the film of the same name. Love stories of gay men involved with Chinese opera.

Lichtenfels, Matthias Ludwig II, Konig von Bayern (Dusseldorf: Deutsche Buchvertriebs- und Verlag Gesselschaft, 1960) 350 p.

Ludlam, Charles Galas In: The complete plays of Charles Ludlam (New York: Perennial Library, 1989) xxi, 905 p. --- Fictionalization of Maria Callas

Machard, Alfred Une vie d'amour: Puccini (Paris: J. Tallandier, 1954), 221 p.

Machlis, Joseph The Career of Madga V  (New York: Norton, 1985) 313 p. --- A veiled account of Schwarzkopf in post-war Vienna.

MacLeod, Charlotte The plain old man (Garden City, NY: Published for the Crime Club by Doubleday, 1985) 180 p.  (London: Collins, 1985) 200 p.   (New York: Avon, 1986) --- Usual frivolous MacLeod nonsense with Sarah Kelling involved with a stolen painting and a murder while assisting in an amateur production of Gilbert & Sullivan's "The Sorcerer". The "plain old man" is the notary immortalized by G & S.

Malvern, Gladys Blithe genius: the story of Rossini (New York: Longmans, Green, 1959) 202 p.

Mann, Klaus Vergittertyes Fenster (Amsterdam: Querido-Verlag, 1937) 112 p.  (Frankfurt-am-Main: S. fischer, 1960) 95 p. --- Novelle um den Tod des Konigs Ludwigs II. von Bayern

Mann, Thomas --- the Wagnerian influence is apparent in all his novels - i.e. either he uses leitmotiven (e.g. the repeated use in TONIO KROEGER of the observation "Schliesslich sind wir keine Zigeuner im gruenen Wagen") or his Novellen are explicitly based on Wagner's operas. e.g. TRISTAN And an early work, WAELSUNGENBLUT (The Blood of the Valsungs), in which a brother and sister, who happen to be called Siegmund and Sieglinde, go to a performance of DIE WALKUERE, and are so overwhelmed that, when they return home, they - er - re-enact the conclusion of Act I on the hearthrug.

Mario, Queena Death drops Delilah (New York: E. P. Dutton, 1944) 206 p.

Mario, Queena Murder in the opera house (New York: E. P. Dutton, 1934) 286 p.

Mario, Queena Murder meets Mephisto (New York: E. P. Dutton, 1942) 244 p.  (New York: Bartholomew House, 1945) 186 p.

Marsh, Ngaio Photo finish (London: Collins, 1980) 262 p.  (Boston: Little, Brown, 1980) 252 p. = Translated into German and published as: Applaus zum bitteren Ende (Bern: Scherz, 1983) 173 p. --- Superintendent Alleyn and his wife are invited to a retreat in New Zealand, she to paint the portrait of an opera singer, he to advise the singer's associates on security.

Maupin, Armistead Tales of the City (New York: HarperPerennial, 1994) 371 p. --- A few opera scenes.

May, Julian Jack the Bodiless (New York: Knopf, 1992) 463 p. --- It's set in some distant future and one of the characters is apparently a soprano who had sung Rimsky-Korsakov's SNOW MAIDEN at The Met. Through a telepathic child she is pregnant with she can replay her performance in other people's minds!!

Mayer, Martin A Voice That Fills the House (New York: Simon & Schuster, 1959) 249 p. --- Fun-trash novel.

McCourt, James Mawrdew Czgowchwz (New York: Farrar, Straus and Giroux, 1975) 230 p. --- A fairly wicked send-up of Schwarzkopf. It is splended satire, by a man who knows the art form inside and out. The more you know about music the funnier this book is.

Meggs, Brown Aria (New York: Atheneum, 1978) 466p. --- Classical record producer getting a recording of OTELLO off the ground. Major factors: young, black tenor of imposing presence and raw talent; superannuated soprano; aging tenor to whom role had been promised. Various players in the music biz (central character based in L.A.). Setting is largely Rome where recording is to be made. Concern is with personalities, casting, production detail. Assorted sexual affairs (no evidence of passion, just libido). I found the writing heavy but the behind-the-scenes production information worth slogging through the rest. It also, I must admit, has some fun stuff about setting up an OTELLO recording in Rome, with a recalcitrant orchestra, an impossible conductor, and a cast which should not be singing their roles. --- I LOVED "Aria" and encourage all Listers to find it if they can. It's all about opera and recording operas. Further, it has vivid and often scurrilous portraits of a number of singers you will recognize despite their pseudonyms. It is not, though, a *roman a clef*. Anyway, it's kind of a MUST for opera people.

Merrill, Robert and Fred G. Jarvis The Divas (New York: Simon & Schuster, 1978) 414 p.  (New York: Berkeley Publishing Corp., 1979) 359 p. --- He refers to his Anna Moffo character Carla Scarlatti as having gotten into serious vocal problems due to a very basically faulty technique. The portrayals of the divas Kirsten, Steber, and Moffo ring incredibly true in most respects. The majority of the "events" in the lives of these divas are taken from fact.

Meyer, Nicholas The canary trainer: from the memoirs of John H. Watson, M.D.  (New York: Norton, 1993) 224 p. --- Detective story, sequel to the Seven Percent Solution. Sherlock Holmes hunting around the opera in Paris.

Michaels, Grant Mask for a Diva (New York: St. Martin's Press, 1994) 296 p. --- a book in the heroic/fantasy vein, entitled 'Rhinegold', a fictional relation of the main Ring episodes, based on legendary and historical sources.

Mikeleitis, Edith Der grosse Mittag (Darmstadt: O. A. Ehlers, 1954) 509 p. --- Die "Sternenfreundschaft" Friedrich Nietzsches und Richard Wagner.

Moore, George Evelyn Innes (New York: D. Appleton, 1898) 435 p.

Mordden, Ethan The Venice Adriana (New York: St. Martin's Press, c1998) 294 p.

Moser, Max Richard Wagner in der englischen Literatur des XIX. Jahrhunderts (Bern, A. Francke [1938]) 118 p. --- Discussion of Wagner in 19th century English fiction. (See also under: Jacobson, Anna)

Murder at the Opera (London: O'Mara, 1988) vi, 250 p.  (London: Headline, 1989) xiv, 303 p.   (New York: Mysterious Press, 1989) vi, 250 p. --- A collection of eleven murder mysteries by such renowned authors as Agatha Christie, O. Henry, Hector Berlioz, Rex Stout, Helen Traubel. The anthology was edited by Thomas Godfrey.

Murdoch, Iris A fairly honorable defeat (New York: Viking Press, 1970) 436 p. --- Fischer-Dieskau crops up in the disastrous dinner-party scene with the gay couple (Axel and Simon) and the character who causes all the disruption in the novel.

Murphy, Thomas The Gigli concert (Dublin, Ireland: Gallery Press, 1984) 75 p.

Murray, William When the fat man sings (Toronto [Ont.]; New York: Bantam Books, 1987) 216 p. --- This novel is about "Fulvio Gasparini," known as the world's greatest tenor and the worst gambler, altho the protagonist is "Shifty" Lou Anderson, Vegas magician and habitue of race tracks (who, by the by, ends up loving Verdi). The story gets real complicated, as you can imagine, but it's a fun read. FWIW, in my extremely humble opinion, "Fulvio" seems to be a combo of Pavarotti and di Stefano.

Myers, Henry The signorina (New York: Corwn Publishers, 1956) 311 p. --- Novel on the life of Maria Malibran.

Nash, Roy Sing, my poor heart, sing (Notre Dame, IN: Dujarie Press, 1955) 96 p. --- Novel on the life of Franz Schubert.

Nichols, Beverley Evensong (Garden City, N.Y.: Doubleday, Doran & company, 1932) 327 p. --- The author's nasty payback for his time serving as Melba's secretary.

Nowak, Hans, and Georg Zivier Die Macht des Schicksals: ein Verdi-Roman (Frankfurt-am-Main: H. Schaffler, 1951) 316 p.

O'Brien, Kate As Music and Splendor (London: Heinemann, 1958)

Oettinger, Eduard Marie Rossini (Leipzig, 1847) = Translated into French by P. Royer and published as: Rossini: l'homme et l'artiste (Bruxelles, 1858) (Leipzig: A. Schnee, 1858) = Translated into Italian by Giacomo Vanzolini and published as: Gioacchino Rossini in animo e in corpo (Pesaro: A. Nobili, 1892) 305 p.

Osborne, Conrad L. O Paradiso (New York : Arbour House/William Morrow, 1988) 349 p. --- One of my favorite operatic novels, mainly because I was there, as were a lot of the listers, I think. It hits very close to home, and to my roots as an opera person. And yes, it is a difficult plot to follow. But then, isn't life? --- As knowledgeable and well-written as everything by this critic, though I find it problematic as a whole. There are subplots about a group of recording fanatics finding a pristine cache of old records, and about a music critic who's becoming more and more isolated. But the main plot has to do with a deconstructionist production of L'AFRICANA mounted with private funding on the Upper West Side, with a cabaret star as Selika. The four pages that describe everything going through a young tenor's mind as he sings "O Paradiso" for his audition are priceless insight into the singer's thoughts.

Pargeter, Edith -- see under: Peters, Ellis

Paul, Barbara (pseudonym; also under Ovstedal, Barbara) A Chorus of Detectives (New York: St. Martin's Press, 1987) A Cadenza for Caruso (New York: St. Martin's Press, 1984) 146 p. (New York: New American Library, 1986) 172 p. (Bath: Chivers, 1986) 264 p.  (Boston: G. K. Hall, 1986) 257 p.   (New York: St. Martin's Press, 1988) Prima Donna at Large (New York: St. Martin's Press, 1985) --- The series of opera mysteries is: A Cadenza for Caruso (with Puccini as one of the main characters), Prima Donna at Large (Geraldine Farrar) and A Chorus of Detectives (with members of the Met Chorus dropping dead far too often, but the chorus of detectives refers to Caruso, Farrar, and  (I think) Amato as the detectives). Gatti-C. shows up in all three. Historically the three novels are all very plausible with virtually everything about the historic characters true to life. Three very enjoyable reads. Honestly, they're not her very best as mysteries, but the setting in the Met, with Caruso, Farrar, Amato, Destinn (and in the last book young Rosa Ponselle) as main characters, and their doings convincingly rendered, makes them irresistible.

Payne, Laurence Vienna blood (London: Hodder and Stoughton, 1984) (Garden City, NY: Published for the Crime Club by Doubleday, 1984) 188 p. --- I would like to add this very good one to the list. Good plot with lots of Viennese and VSO background, including a famous imagined soprano named Alicia Steinberg, well past the end of her career but apparently famous in the 20's and 30's in Wagnerian-Straussian roles. Lots of real singers of the period are mentioned in this context, including the Konetzni sisters. A good read.

Pearson, Diane Voices of Summer (New York: Crown Publishers, 1992) 272 p. --- an extremely sentimental novel out a couple of years ago about a small German operetta festival and an aging diva finding love.

Perrin, Ursula Unheard Music (New York: Doubleday, 1981) 315 p.

Peters, Ellis [Pseudonym of Edith Pargeter, under which some of her works appear.] Funeral of Figaro (London: Published for the Crime Club by Collins, 1962) 192 p.  (New York: Morrow, 1964) 192 p. --- Ellis Peters often uses opera or classical motives in her novels Funeral of Figaro - a very nice mystery novel that takes place in a repertory opera company that is doing "Marriage of Figaro." The story is set at some fictional opera house putting on Nozze, and the Figaro has just died unexpectedly. The novel opens with a star substitute arriving and putting everyone in tumult.

Peters, Ellis The Horn of Roland (London: Macmillan, 1974) 160 p.  (New York: Morrow, 1974) 159 p.

Peters, Ellis The House of Green Turf (London: Published for the Crime Club by Collins, 1969) 192 p. (New York: Morrow, 1969) 220 p. --- Utilizes Mahler Lieder.

Peters, Ellis The Will and the Deed (London: Published for the Crime Club by Collins, 1960) 192 p. --- Utilizes DER ROSENKAVALIER.

Peterson, Audrey Deadly Rehearsal (New York: Pocket Books, 1990) --- "An Andrew Quentin and Jane Winfield Mystery." At the Southmere Opera Festival, in Sussex, "Traviata" is in rehearsal when the festival producer is discovered murdered.

Pohl, Frederick Outnumbering the dead (London: Century, 1990) 110 p.  (New York: St. Martin's Press, 1992) --- A very short novel about a musical performance of Oedipus rex. It is not properly opera, but the way that future is portrayed (very multicultural). I'm sure it has some elements of it.

Pratchett, Terry Maskerade --- Operatic goings-on in the Discworld.

Pultz, Wilhelm Die Geburt der deutschen Oper (Leipzig: Hase & Koehler, 1939) 296 p. --- Roman um Carl Maria von Weber.

Purdy, James Out with the stars (San Francisco: City Lights, 1992) 192p --- Retired composer Abner Blossom wants to compose an opera based on a recently discovered anonymous libretto, but others want to stop him.

Pym, Barbara The Sweet Dove Died (London: Macmillan, 1978) 208 p.  (New York: Perennial Library, 1987) 208 p. --- Odd relationship between Leonora Eyre and antique dealer Humphrey Boyce and his nephew James. The only mention of opera is a visit to Covent Garden for a performance of Tosca by Humphrey and Leonora.

Rau, Heribert Carl Maria von Weber (Leipzig: T. Thomas, 1865) 3 vols. in 1 --- Culturgeschichtlich-biographischer Roman.

Reeves, John Murder with muskets (Toronto ; Garden City, NY: Doubleday, 1985) 207 p. --- The firing squad fires real bullets at Cavaradossi in the last act of Tosca during a performance in Toronto. Bach-loving Inspector Coggin must discover the murderer.

Reisigner, Hans Unruhiges Gestirn: Die Jugend Richard Wagners (Leipzig: P. List, 1930) 364 p.  (Leipzig, Munchen: P. List, 1948) 264 p. = Translated into English by Maida E. Darnton and published as: Restless star: the youth of Richard Wagner (New York, London: The Century Co., 1932) ix, 323 p.

Remy, Pierre-Jean Cordelia ou l'Angleterre ([Paris]: Gallimard, 1979) 332 p. --- Mystery, part of which takes place in Glyndebourne.

Remy, Pierre-Jean La mort de Floria Tosca ([Paris]: Mercure de France, 1974) 146 p. --- About the death of Maria Callas -- absolutely boring.

Remy, Pierre-Jean Salue pour moi le monde ([Paris]: Gallimard, 1980) 379 p. --- Interesting as the action takes place at a Bayreuth festival during the performances of Patrick Chereau/Pierre Boulez Ring.

Rice, Anne Cry to Heaven (New York: Alfred A. Knopf, 1982) 584 p. (New York: Alfred A. Knopf, 1982) 533 p. (New York: Pinnacle, 1983) 533 p.  (New York: Pinnacle/Windsor, 1988) 533 p. (London: Chatto & Windus, 1990) 533 p.  (London: Penguin Books, 1991) 581 p.   (New York: Ballantine Books, 1991) 533 p. (New York: Quality Paperback Book club, 1991) 533 p. --- Antonio Treschi, heir to the Treschi fortune in 18th Century Venice becomes a victim of his older brother's malice, and joins the ranks of the castrati, eventually becoming the greatest singer of his time, but he will never be satisfied until he gets his revenge.

Richardson, Henry Handel, pseud. The young Cosima, a novel (New York, W. W. Norton, 1939) 390 p. --- Fictional story involving Cosima and Richard Wagner. Contains a section "Sources and authorities": p. 389-390.

Richter, Hermann Da wilde Herz (Leipzig: Koehler & Amelang, 1927) 232 p. --- Lebensroman der Wilhelmine Schroder-Devrient.

Roosevelt, Blanche, 1853-1898 (pseudonym) Stage-struck; or, She would be an opera-singer (New York: Fords, Howard, & Hulbert, 1884) 521 p.  (London: Sampson Low & Co., 1884) 521 p.

Ross, Kate The Devil in Music (New York: Viking, 1997) --- Opera buff detective in Regency England.

Rothenberger, Anneliese In mir klingt ein Lied: die schonsten Geschichten aus der Welt der Musik (Munchen: Lichtenberg, 1974) 260 p. Edited by Rothenberger and M. Kluge.

Rousselot, Jean La vie passionnee de Wagner (Paris: Editions Seghers, 1960) 332 p.

Sanborn, Pitts Prima donna, a novel of the opera (London, New York: Longmans, Green, 1929) 616 p.

Sand, George --- Music and Opera are present in numerous works of the french writer George Sand. In ' La Comtesse de Rudolstadt ', where music and opera are the link between the different characters (you meet Porporina (sp) and even a very young Haydn). In some of her novels set in Venice too, opera plays a great part, I remember there is even one novel beginning with the 'ecco ridente' from the Barber.

Sand, George Consuelo

Satter, Heinrich Angelica Catalani: Primadonna der Kaiser und Konige (Frankfurt am Main: Frankfurter Bucher, 1958) 512 p.

Scott, Phillip One Dead Diva (Sydney: BlackWattle Press, 1995 ) 230 p. --- Jennifer Burke was a rising star in the Sydney City Opera until she fell off a cliff ... or was she pushed? Marc, an accident-prone opera queen, and his friend Paul, a chorus boy addicted to dance parties, decide to investigate. Being very amateur detectives, they incompetently lose the evidence and accuse all the wrong people in their quest to solve the puzzle. Part murder mystery, part farce, part contemporary satire, and even part romance, One Dead Diva is one lively read.

Scribe, Augustin Eugene Carlo Broschi: nouvelle historique (Bruxelles: Miline, Cans, 1839) (Bruxelles: Societe Belge de Librairie, 1839) 177 p. --- Novel about Farinelli.

Second, Alberic Les petits mysteres de l'Opera (Paris : G. Kugelmann, 1844) [4], 320 p.

Siciliano, Sam The Angel of the opera: Sherlock Holmes meets the Phantom of the Opera (New York: O. Penzler Books, 1994) 256 p. --- Based on characters created by Sir Arthur Conan Doyle and Gaston Leroux.

Silbermann, Alphons Das imaginare Tagebuch des Herrn Jacques Offenbach (Berlin: Bote & Bock, 1960) 456 p.

Sinstadt, Gerald The Fidelio Score (London: John Long, 1965) --- An espionage novel set in the opera world. "From a nondescript office in Waterloo Road, British Intelligence runs its courier service and sends out semiprofessional agents, often with inadequate cover. Geoffrey Landon, free-lance music critic, is conscripted and, aware that his predecessor was murdered, goes to contact an Australian opera singer working on the continent. But the singer has disappeared, and Landon is caugt up in a chilling and tragic network of intrigue."

Smith, Kate Nolte Elegy for a Soprano (New York: Villard Books, 1985) 277 p.

Sontag, Susan The volcano lover (New York: Farrar, Straus, Giroux, 1992) 419 p.

Stacey, Susannah [pseudonym of Jill Staynes] A Knife At The Opera (London: Bodley Head, 1988) 165 p.  (New York : Summit Books, 1989) 165 p --- Mystery.

Staynes, Jill - see under her pseudonym Stacey, Susannah

Stewart, Edward Ariana (New York: Crown Publishers, 1984) 488 p. (New York: Crown Publishers, 19845) 466 p. (London: Macillan, 1985) 466 p.  (New York, Toronto: Paper Jacks, 1986) 534 p. (New York: Dell, 1992) 564 p. = Translated into German by Hilde Linnert and published: (Zurich: Diana, 1989) 544 p. = Translated into Italian by Adriana Dell'Orto and published as: Una diva (Milano: Sperling & Kupfer, 1988) 565 p.

Stuhlfaut, Lene Nur wer durch Feuer bricht (Bayreuth: J. Steeger, 1952) 271 p.

Swarthout, Gladys Come soon, tomorrow : the story of a young singer (Philadelphia: The Blakiston company; 1943) viii p., 278p. (New York: Dodd, Mead & company, 1944) viii p., 278 p.

Thiess, Frank Caruso: Roman einer Stimme Buch 1: Caruso in Neapel: Die Legende einer Stimme Buch 2: Caruso in Sorrent (Wien: K. H. Bischoff, 1942) 2 vol. (Hamburg: P. Zsolnay, 1942) 2 vol. (Hamburg: W. Kruger, 1946) 2 vol. (Stuttgart: Europaischer Buchklub, 1952) 2 vol. in 1

Buch 1: Caruso in Neapel: Die Legende einer Stimme Gutersloh?: Bertelsmann-Verlag, 1955) 317 p. Buch 2: Caruso in Sorrent  (Hamburg: W. Kruger, 1946) 455 p.   (Wien: P. Zsolnay, 1949) 461 p.   (Stuttgart: Fackel-Buchklub, 1950?) 601 p. (Frankfurt-am-Main: Fischer, 1963) 345 p.

Der Tenor von Trapani (Leipzig: P. Reclam jun., 1942) 74 p. = Translated into Italian by Anita Rho and published as: Il tenore di Trapani (Torino: Frassinelli, 1942) 195 p. Also about Caruso - probably an altered version from the 2 volume work.

Thorp, Roderick Jenny and Barnum: a novel of love (Garden City, NY: Doubeday, 1981) 375 p. Apparently about Jenny Lind and Phineas T. Barnum.

Tolstoy, Leo War and Peace Many editions and translations from the Russian: --- the heroine, Natasha, meets Anatole at the opera (and is in fact a mezzo herself) whom she has an affair of sorts with and ruins her relationship with her betrothed, Prince Andrei.

Traubel, Helen The Metropolitan Opera Murders (New York: Simon & Schuster, 1951) 192 p.  (New York: Avon, 1951) 158 p.   (New York: Simon & Schuster, 1951) 234 p. --- Everyone at the Met read to see if they were included.

Trollope, Anthony The Landleaguers (London, Chatto & Windus, 1883) (Oxford ; New York: Oxford University Press, 1993) xxx, 444 p. --- Subplot concerns a young American woman who travels to London to try to make it in opera.

Van Vechten, Carl Interpreters and interpretations (New York: A.A. Knopf, 1917) 368p. --- Several of these essays have appeared in the Bellman, the Musical quarterly, the Seven arts, and Vanity fair. "However all of these have been considerably altered and expanded."

Verne, Jules Une Fantasie du Docteur Ox  (Dr. Ox) (New York: French & European Publications, Inc. 1978) --- Jules Verne's Le docteur Ox. The good "doctor" undertakes to vitalize a phlegmatic Flemish town (I won't spoil the end by specifying how), and the effect of his ministration is described partly in terms of a performance of LES HUGUENOTS, whose multi-hour longeurs usually have the audience asleep by the end. In this case, the performance grows more and more exciting, bringing the cheering audience to its feet when it ends, something like 2-1/2 hours after it began. The images by which Verne builds this picture are generally musical and make it evident that he was quite familiar with the opera. There is another, semi-operatic connection with the story. It  (as well as Verne's _Voyage dans la lune_) was turned into an operetta by Jacques Offenbach.

Vine, Barbara No night is too long (New York: Harmony Books, 1994) 315 p. --- Alter ego of Ruth Rendell refers to "Keine Nacht dir zu lang" in DER ROSENKAVALIER.

Werfel, Franz Verdi: Roman der Oper (Berlin: P. Zsolnay, 1924) = Translated into English and published as: Verdi: a novel of the opera (New York: Simon & Schuster, 1926)

Wharton, Edith Age of Innocence (New York: Penguin, 1996) 330 p. --- Uses the opera as an important background and the movie uses this to wonderful advantage in several key scenes. Newland Archer sees an old flame, Ellen Olenska, at the opera on the evening it is announced that he is engaged to be married to May Newland. The performance is "Faust". It all takes place in the boxes of the old Met.

Williams,Kirby The opera murders (New York, C. Scribner's sons, 1933) 259 p.

Williamson, Audrey. Funeral march for Siegfried (London: Elek, 1979) --- My dim recollection of it is that it takes place during a Ring Cycle at Covent Garden at some point in the late 1950s. Williamson is the noted opera and ballet critic. She wrote two detective novels featuring her hero, Inspector Richard York who had two passions--horse racing and opera.

Yarbro, Chelsea Q. Music when sweet voices die (New York: Putnam, 1979) 264 p. Later retitled: False notes (New York: Jove, 1991) 245 p. --- Murder on stage at the San Francisco Opera House when the tenor singing Hoffmann dies of poison during the final scene. Canadian Ojibway medicine man, Charlie Spotted Moon, a lawyer practicing in San Francisco (this really is fiction!), is asked by one of the Opera's benefactors to look after the House's interests.

List of musicians who are authors

 * Lotte Lehmann
 * William Lewis
 * Queena Mario
 * Robert Merrill
 * Conrad L. Osborne
 * Anneliese Rothenberger
 * Gladys Swarthout
 * Helen Traubel

List of musicians who appear in the works mentioned
Marian Anderson
 * Harry James Albus, "The 'Deep River' girl"

Vincenzo Bellini
 * Arnaldo Fraccaroli "Bellini"

Maria Callas
 * Charles Ludlam "Galas"

Enrico Caruso
 * Max Kronberg, "Der Sieg der Melodie"
 * Endre Levai & Endre Barat, "La vie fantastique de Caruso"
 * Barbara Paul, "A Chorus of Dectectives" and "Prima Donna at Large"
 * Frank Thiess, "Caruso: Roman einer Stimme" and "Der Tenor von Trapani"

Angelica Catalani
 * Heinrich Satter, "Angelica Catalani: Primadonna der Kaiser und Konige"

Gaetano Donizetti
 * Arnaldo Fraccaroli, "Donizetti"

Farinelli
 * Marc David, "Farinelli: memoires d'un castrat"
 * Lawrence Goldman, "The Castrato"
 * Eugène Scribe, "Carlo Broschi: nouvelle historique"

Geraldine Farrar
 * Barbara Paul, "Prima Donna at Large" and "A Chorus of Detectives"

Dietrich Fischer-Dieskau
 * Patricia Highsmith, "The Boy who Followed Ripley"
 * Iris Murdoch, "A Fairly Honourable Defeat"

Frederick the Great
 * Oskar Paul Wilhelm Anwand, "Die Primadonna Friedrichs des Grossen"

Amelita Galli-Curci
 * Terry Kay, "Shadow song"

Christoph Willibald Gluck
 * E. T, A. Hoffmann, "Ritter Gluck: eine Erinnerung aus dem Jahre 1809"

E. T. A. Hoffmann
 * Robertson Davies, "The Lyre of Orpheus"

Lilli Lehmann
 * Marcia Davenport, "Of Lena Geyer"

Jenny Lind
 * Frances Cavanah, "Two Loves for Jenny Lind"
 * Doris Parkin Keil, "The Ploughboy and the Nightingale"
 * Roderick Thorp, "Jenny and Barnum: a novel of love"

Maria Malibran
 * Henry Myers, "The signorina"

Gertrud Elisabeth Mara (née Schmeling)
 * Oskar Paul Wilhelm Anwand, "Die Primadonna Friedrichs des Grossen"

Nellie Melba
 * Beverley Nichols, "Evensong"

Constanze Mozart
 * Klemens Diez, "Constanze -- gewesene Witwe Mozart"

Wolfgang Amadeus Mozart
 * Marc David, "Farinelli: memoires d'un castrat"

Jacques Offenbach
 * Alphons Silbermann, "Das imaginare Tagebuch des Herrn Jacques Offenbach"

Giacomo Puccini
 * Janos Bokay, "Bohemek es pillangok" (aka: "Maestro Puccini: ein leben in Melodien")
 * Max Kronberg, "Der Sieg der Melodie"
 * Alfred Machard, "Une vie d'amour"
 * Barbara Paul, "A Cadenza for Caruso"

Gioachino Rossini
 * Umberto Gozzano, "Rossini; il romanzo dell'opera"
 * Gladys Malvern, "Blithe genius"
 * Eduard Marie Oettinger, "Rossini"

Wilhelmine Schroder-Devrient
 * "Aus den Memoiren einer Saengerin"
 * "Pauline: memoirs of a singer"
 * "Les Memoires d'une chanteuse allemande"
 * Eva Fanny Bernhardine Turk, Grafin von Baudissin, "Wilhelmine Schroder-Devrient: der Schicksalsweg einer grossen Kunstlerin"
 * Hermann Richter, "Da wilde Herz"

Franz Schubert
 * Roy Nash, "Sing, my poor heart, sing"

Elisabeth Schwarzkopf
 * Joseph Machlis, "The Career of Madga V"

Johann Strauss II
 * Fritz Lange, "Johann Strauss, der Walzerkonig"

Arturo Toscanini
 * Stuart Kaminsky, "Poor Butterfly"

Giuseppe Verdi
 * Hans Nowak and Georg Zivier, "Die Macht des Schicksals"
 * Franz Werfel, "Verdi: Roman der Oper"

Cosima Wagner
 * Richardson, Henry Handel, "The young Cosima"

Richard Wagner
 * May Clarissa Gillington Byron, "A day with Richard Wagner"
 * Grete Fink-Tobich, "Mir erkoren, mir verloren"
 * Anna Jacobson, "Nachklange Richard Wagners im Roman"
 * Ottokar Janetschek, "Der Konig und sein Meister"
 * Zdenko von Kraft, "Wahnfried"
 * Max Kronberg, "Feuerzauber" and "König und Kunstler"
 * Joachim Kuupsch, "Ein Ende in Dresden"
 * Edith Mikeleitis, "Der grosse Mittag"
 * Hans Reisigner, "Unruhiges Gestirn: Die Jugend Richard Wagners"
 * Henry Handel Richardson, "The young Cosima"
 * Jean Rousselot, "La vie passionnee de Wagner"

Carl Maria von Weber
 * Wilhelm Pultz, "Die Gerburt der deutschen Oper"
 * Heribert Rau, "Carl Maria von Weber"

Incorrect title
The Mozart Brothers --- is a funny, detailed look behind the scenes of a modern-type production of DON GIOVANNI, with all the upheavals and "special exercises."

Lacking titles
--- I remember reading one mystery in which there was a brief encounter with an aging never-was (not even a has-been) opera singer, who claimed that "The voice is such a fickle servant. I lost my portamento prematurely."

--- And there is this short story, is it by Conan Doyle, I do not remember, about a tenor having a love affair with the wife of a surgeon. The surgeon decides to get his revenge, has the tenor attacked in the street and brought to his office, and, there practices an operation that deprives him of the use of his vocal chords. The tenor wakes to find out he can not utter any sound.