The overture was once an important part of a concert's programme, but have now declined in popularity to the dismay of many. It is usually an orchestral piece which forms the opener for an opera or play. An overture provides an opening to a larger work, using themes from the rest of the piece, but is often played as a standalone work. Here are the best opera overtures according to three of the world's top conductors.
The best overtures
Weber’s Euryanthe
Weber’s Euryanthe is such a special piece, with a double quartet of eight violins alone creating a shimmering, mysterious mood. A really fascinating overture – and virtuosic to the last. (Chosen by Sir Antonio Pappano)
Rossini’s The Siege of Corinth
Rossini’s The Siege of Corinth has very big bones and is very grand – yet it is hardly ever played considering it is one of the finest opera overtures. (Chosen by Sir Antonio Pappano)
Verdi’s Force of Destiny
Of course, I couldn’t do without Verdi’s Force of Destiny overture! The Sicilian Vespers is wonderful, but the Forza somehow plays better. (Chosen by Sir Antonio Pappano)
Berlioz's The Corsair
Berlioz’s The Corsair is a particularly brilliant piece of writing by a master of the orchestra. (Chosen by Sir Antonio Pappano)
Beethoven's Leonore No. 3
Both the musical and the philosophical content of Leonore No. 3 are the result of a long search by Beethoven for what he really wanted for his opera Fidelio. (Chosen by Domingo Hindoyan)
Mendelssohn's The Hebrides
Mendelssohn’s The Hebrides is a favourite overture of mine from an early period of my studies, and probably one of the first pieces I ever conducted. (Chosen by Domingo Hindoyan)
Wagner's Tristan und Isolde Prelude
Wagner’s Tristan und Isolde Prelude is one of the biggest and best opera overtures in which I can feel a synthesis of the deeply emotional content of what’s going to happen in the opera. (Chosen by Domingo Hindoyan)
Wagner's Parsifal
In the Prelude to Act I of Parsifal, Wagner has this perfect way of writing about hope, faith and devotion: right from the beginning, it’s like looking at the sky and the stars! (Chosen by Domingo Hindoyan)
Weber’s Der Freischütz
Weber’s Der Freischütz is one of the most wonderful opera overtures: strong, substantial and a Hallé Orchestra favourite – not just of our founder conductor, Charles Hallé, but also of John Barbirolli. (Chosen by Sir Mark Elder)
Berlioz's Benvenuto Cellini
Berlioz wrote some of the best overtures and Benvenuto Cellini is a fine example: it always gets a good hand from the public. It’s like saying “OK, we’re ready, we’re off”. (Chosen by Sir Mark Elder)
Wagner's Tannhäuser
‘The Hallé and I had a terrific success with Wagner’s Tannhäuser overture on a German tour a few years ago. The original overture (without the Venusberg Music) is not often done, because the ending has this incredibly difficult violin writing; but if you’ve got time to prepare it, it makes a very big effect.’ (Chosen by Sir Mark Elder)
Reznicek’s Donna Diana
I think Reznicek’s Donna Diana is quite tricky. I should probably foist it on the Hallé when they’re least expecting it… (Chosen by Sir Mark Elder)