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Opera is a form of Western theatre in which music is a fundamental component and dramatic roles are taken by singers. Such a “work” (the literal translation of the Italian word “opera”) is typically a collaboration between a composer and a librettist^[1] and incorporates a number of the performing arts, such as acting, scenery, costume, and sometimes dance or ballet. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble, which since the early 19th century has been led by a conductor. Although musical theatre is closely related to opera, the two are considered to be distinct from one another.^[2]

Opera is a key part of Western classical music, and Italian tradition in particular.^[3] Originally understood as an entirely sung piece, in contrast to a play with songs, opera has come to include numerous genres, including some that include spoken dialogue such as Singspiel and Opéra comique. In traditional number opera, singers employ two styles of singing: recitative, a speech-inflected style,^[4] and self-contained arias. The 19th century saw the rise of the continuous music drama.

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Opera originated in Italy at the end of the 16th century (with Jacopo Peri‘s mostly lost Dafne, produced in Florence in 1598) especially from works by Claudio Monteverdi, notably L’Orfeo, and soon spread through the rest of Europe: Heinrich Schütz in Germany, Jean-Baptiste Lully in France, and Henry Purcell in England all helped to establish their national traditions in the 17th century. In the 18th century, Italian opera continued to dominate most of Europe (except France), attracting foreign composers such as George Frideric Handel. Opera seria was the most prestigious form of Italian opera, until Christoph Willibald Gluck reacted against its artificiality with his “reform” operas in the 1760s. The most renowned figure of late 18th-century opera is Wolfgang Amadeus Mozart, who began with opera seria but is most famous for his Italian comic operas, especially The Marriage of Figaro (Le nozze di Figaro), Don Giovanni, and Così fan tutte, as well as Die Entführung aus dem Serail (The Abduction from the Seraglio), and The Magic Flute (Die Zauberflöte), landmarks in the German tradition.

The first third of the 19th century saw the high point of the bel canto style, with Gioachino Rossini, Gaetano Donizetti and Vincenzo Bellini all creating signature works of that style. It also saw the advent of grand opera typified by the works of Daniel Auber and Giacomo Meyerbeer as well as Carl Maria von Weber‘s introduction of German Romantische Oper (German Romantic Opera). The mid-to-late 19th century was a golden age of opera, led and dominated by Giuseppe Verdi in Italy and Richard Wagner in Germany. The popularity of opera continued through the verismo era in Italy and contemporary French opera through to Giacomo Puccini and Richard Strauss in the early 20th century. During the 19th century, parallel operatic traditions emerged in central and eastern Europe, particularly in Russia and Bohemia. The 20th century saw many experiments with modern styles, such as atonality and serialism (Arnold Schoenberg and Alban Berg), neoclassicism (Igor Stravinsky), and minimalism (Philip Glass and John Adams). With the rise of recording technology, singers such as Enrico Caruso and Maria Callas became known to much wider audiences that went beyond the circle of opera fans. Since the invention of radio and television, operas were also performed on (and written for) these media. Beginning in 2006, a number of major opera houses began to present live high-definition video transmissions of their performances in cinemas all over the world. Since 2009, complete performances can be downloaded and are live streamed.

Operatic terminology

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The words of an opera are known as the libretto (meaning “small book”). Some composers, notably Wagner, have written their own libretti; others have worked in close collaboration with their librettists, e.g. Mozart with Lorenzo Da Ponte. Traditional opera, often referred to as “number opera“, consists of two modes of singing: recitative, the plot-driving passages sung in a style designed to imitate and emphasize the inflections of speech,^[4] and aria (an “air” or formal song) in which the characters express their emotions in a more structured melodic style. Vocal duets, trios and other ensembles often occur, and choruses are used to comment on the action. In some forms of opera, such as singspiel, opéra comique, operetta, and semi-opera, the recitative is mostly replaced by spoken dialogue. Melodic or semi-melodic passages occurring in the midst of, or instead of, recitative, are also referred to as arioso. The terminology of the various kinds of operatic voices is described in detail below.^[5]

During both the Baroque and Classical periods, recitative could appear in two basic forms, each of which was accompanied by a different instrumental ensemble: secco (dry) recitative, sung with a free rhythm dictated by the accent of the words, accompanied only by basso continuo, which was usually a harpsichord and a cello; or accompagnato (also known as strumentato) in which the orchestra provided accompaniment. Over the 18th century, arias were increasingly accompanied by the orchestra. By the 19th century, accompagnato had gained the upper hand, the orchestra played a much bigger role, and Wagner revolutionized opera by abolishing almost all distinction between aria and recitative in his quest for what Wagner termed “endless melody“. Subsequent composers have tended to follow Wagner‘s example, though some, such as Stravinsky in his The Rake’s Progress have bucked the trend. The changing role of the orchestra in opera is described in more detail below.

History

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Main article: History of opera

Origins

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Main articles: Origins of opera and List of operas by Claudio Monteverdi

The Italian word opera means “work”, both in the sense of the labour done and the result produced. The Italian word derives from the Latin word opera, a singular noun meaning “work” and also the plural of the noun opus. According to the Oxford English Dictionary, the Italian word was first used in the sense “composition in which poetry, dance, and music are combined” in 1639; the first recorded English usage in this sense dates to 1648.^[6]

Dafne by Jacopo Peri was the earliest composition considered opera, as understood today. It was written around 1597, largely under the inspiration of an elite circle of literate Florentine humanists who gathered as the “Camerata de’ Bardi“. Significantly, Dafne was an attempt to revive the classical Greek drama, part of the wider revival of antiquity characteristic of the Renaissance. The members of the Camerata considered that the “chorus” parts of Greek dramas were originally sung, and possibly even the entire text of all roles; opera was thus conceived as a way of “restoring” this situation. Dafne, however, is lost. A later work by Peri, Euridice, dating from 1600, is the first opera score to have survived until the present day. However, the honour of being the first opera still to be regularly performed goes to Claudio Monteverdi‘s L’Orfeo, composed for the court of Mantua in 1607.^[7] The Mantua court of the Gonzagas, employers of Monteverdi, played a significant role in the origin of opera employing not only court singers of the concerto delle donne (till 1598), but also one of the first actual “opera singers”, Madama Europa.^[8]

Italian opera

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Main article: Italian opera

Baroque era

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Opera did not remain confined to court audiences for long. In 1637, the idea of a “season” (often during the carnival) of publicly attended operas supported by ticket sales emerged in Venice. Monteverdi had moved to the city from Mantua and composed his last operas, Il ritorno d’Ulisse in patria and L’incoronazione di Poppea, for the Venetian theatre in the 1640s. His most important follower Francesco Cavalli helped spread opera throughout Italy. In these early Baroque operas, broad comedy was blended with tragic elements in a mix that jarred some educated sensibilities, sparking the first of opera’s many reform movements, sponsored by the Arcadian Academy, which came to be associated with the poet Metastasio, whose libretti helped crystallize the genre of opera seria, which became the leading form of Italian opera until the end of the 18th century. Once the Metastasian ideal had been firmly established, comedy in Baroque-era opera was reserved for what came to be called opera buffa. Before such elements were forced out of opera seria, many libretti had featured a separately unfolding comic plot as sort of an “opera-within-an-opera”. One reason for this was an attempt to attract members of the growing merchant class, newly wealthy, but still not as cultured as the nobility, to the public opera houses. These separate plots were almost immediately resurrected in a separately developing tradition that partly derived from the commedia dell’arte, a long-flourishing improvisatory stage tradition of Italy. Just as intermedi had once been performed in between the acts of stage plays, operas in the new comic genre of intermezzi, which developed largely in Naples in the 1710s and 1720s, were initially staged during the intermissions of opera seria. They became so popular, however, that they were soon being offered as separate productions.

Opera seria was elevated in tone and highly stylised in form, usually consisting of secco recitative interspersed with long da capo arias. These afforded great opportunity for virtuosic singing and during the golden age of opera seria the singer really became the star. The role of the hero was usually written for the high-pitched male castrato voice, which was produced by castration of the singer before puberty, which prevented a boy’s larynx from being transformed at puberty. Castrati such as Farinelli and Senesino, as well as female sopranos such as Faustina Bordoni, became in great demand throughout Europe as opera seria ruled the stage in every country except France. Farinelli was one of the most famous singers of the 18th century. Italian opera set the Baroque standard. Italian libretti were the norm, even when a German composer like Handel found himself composing the likes of Rinaldo and Giulio Cesare for London audiences. Italian libretti remained dominant in the classical period as well, for example in the operas of Mozart, who wrote in Vienna near the century’s close. Leading Italian-born composers of opera seria include Alessandro Scarlatti, Antonio Vivaldi and Nicola Porpora.^[9]

Gluck’s reforms and Mozart

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Mozart K. 527

Duration: 6 minutes and 49 seconds.6:49

Overture to Don Giovanni (1787)

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Opera seria had its weaknesses and critics. The taste for embellishment on behalf of the superbly trained singers, and the use of spectacle as a replacement for dramatic purity and unity drew attacks. Francesco Algarotti‘s Essay on the Opera (1755) proved to be an inspiration for Christoph Willibald Gluck‘s reforms. He advocated that opera seria had to return to basics and that all the various elements—music (both instrumental and vocal), ballet, and staging—must be subservient to the overriding drama. In 1765 Melchior Grimm published “Poème lyrique“, an influential article for the Encyclopédie on lyric and opera librettos.^{[10][11][12][13][14]} Several composers of the period, including Niccolò Jommelli and Tommaso Traetta, attempted to put these ideals into practice. The first to succeed however, was Gluck. Gluck strove to achieve a “beautiful simplicity”. This is evident in his first reform opera, Orfeo ed Euridice, where his non-virtuosic vocal melodies are supported by simple harmonies and a richer orchestra presence throughout.

Gluck’s reforms have had resonance throughout operatic history. Weber, Mozart, and Wagner, in particular, were influenced by his ideals. Mozart, in many ways Gluck’s successor, combined a superb sense of drama, harmony, melody, and counterpoint to write a series of comic operas with libretti by Lorenzo Da Ponte, notably Le nozze di Figaro, Don Giovanni, and Così fan tutte, which remain among the most-loved, popular and well-known operas. But Mozart’s contribution to opera seria was more mixed; by his time it was dying away, and in spite of such fine works as Idomeneo and La clemenza di Tito, he would not succeed in bringing the art form back to life again.^[15]

Bel canto, Verdi and verismo

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The bel canto opera movement flourished in the early 19th century and is exemplified by the operas of Rossini, Bellini, Donizetti, Pacini, Mercadante and many others. Literally “beautiful singing”, bel canto opera derives from the Italian stylistic singing school of the same name. Bel canto lines are typically florid and intricate, requiring supreme agility and pitch control. Examples of famous operas in the bel canto style include Rossini’s Il barbiere di Siviglia and La Cenerentola, as well as Bellini’s Norma, La sonnambula and I puritani and Donizetti’s Lucia di Lammermoor, L’elisir d’amore and Don Pasquale.

La donna è mobile

Duration: 2 minutes and 10 seconds.2:10

Enrico Caruso sings “La donna è mobile“, from Giuseppe Verdi‘s Rigoletto (1908)

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No Pagliaccio non-son

Duration: 3 minutes and 20 seconds.3:20

Aria from Ruggero Leoncavallo‘s Pagliacci. Performed by Enrico Caruso

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Following the bel canto era, a more direct, forceful style was rapidly popularized by Giuseppe Verdi, beginning with his biblical opera Nabucco. This opera, and the ones that would follow in Verdi’s career, revolutionized Italian opera, changing it from merely a display of vocal fireworks, with Rossini’s and Donizetti’s works, to dramatic story-telling. Verdi’s operas resonated with the growing spirit of Italian nationalism in the post-Napoleonic era, and he quickly became an icon of the patriotic movement for a unified Italy. In the early 1850s, Verdi produced his three most popular operas: Rigoletto, Il trovatore and La traviata. The first of these, Rigoletto, proved the most daring and revolutionary. In it, Verdi blurs the distinction between the aria and recitative as it never before was, leading the opera to be “an unending string of duets”. La traviata was also novel. It tells the story of courtesan, and it includes elements of verismo or “realistic” opera,^[16] because rather than featuring great kings and figures from literature, it focuses on the tragedies of ordinary life and society. After these, he continued to develop his style, composing perhaps the greatest French grand opera, Don Carlos, and ending his career with two Shakespeare-inspired works, Otello and Falstaff, which reveal how far Italian opera had grown in sophistication since the early 19th century. These final two works showed Verdi at his most masterfully orchestrated, and are both incredibly influential, and modern. In Falstaff, Verdi sets the pre-eminent standard for the form and style that would dominate opera throughout the twentieth century. Rather than long, suspended melodies, Falstaff contains many little motifs and mottos, that, rather than being expanded upon, are introduced and subsequently dropped, only to be brought up again later. These motifs never are expanded upon, and just as the audience expects a character to launch into a long melody, a new character speaks, introducing a new phrase. This fashion of opera directed opera from Verdi, onward, exercising tremendous influence on his successors Giacomo Puccini, Richard Strauss, and Benjamin Britten.^[17]

After Verdi, the sentimental “realistic” melodrama of verismo appeared in Italy. This was a style introduced by Pietro Mascagni‘s Cavalleria rusticana and Ruggero Leoncavallo‘s Pagliacci that came to dominate the world’s opera stages with such popular works as Giacomo Puccini‘s La bohème, Tosca, and Madama Butterfly. Later Italian composers, such as Berio and Nono, have experimented with modernism.^[18]

German-language opera

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Main article: Opera in German

The first German opera was Dafne, composed by Heinrich Schütz in 1627, but the music score has not survived. Italian opera held a great sway over German-speaking countries until the late 18th century. Nevertheless, native forms would develop in spite of this influence. In 1644, Sigmund Staden produced the first Singspiel, Seelewig, a popular form of German-language opera in which singing alternates with spoken dialogue. In the late 17th century and early 18th century, the Theater am Gänsemarkt in Hamburg presented German operas by Keiser, Telemann and Handel. Yet most of the major German composers of the time, including Handel himself, as well as Graun, Hasse and later Gluck, chose to write most of their operas in foreign languages, especially Italian. In contrast to Italian opera, which was generally composed for the aristocratic class, German opera was generally composed for the masses and tended to feature simple folk-like melodies, and it was not until the arrival of Mozart that German opera was able to match its Italian counterpart in musical sophistication.^[19] The theatre company of Abel Seyler pioneered serious German-language opera in the 1770s, marking a break with the previous simpler musical entertainment.^[20][21]

Mozart‘s Singspiele, Die Entführung aus dem Serail (1782) and Die Zauberflöte (1791) were an important breakthrough in achieving international recognition for German opera. The tradition was developed in the 19th century by Beethoven with his Fidelio (1805), inspired by the climate of the French Revolution. Carl Maria von Weber established German Romantic opera in opposition to the dominance of Italian bel canto. His Der Freischütz (1821) shows his genius for creating a supernatural atmosphere. Other opera composers of the time include Marschner, Schubert and Lortzing, but the most significant figure was undoubtedly Wagner.

Wagner was one of the most revolutionary and controversial composers in musical history. Starting under the influence of Weber and Meyerbeer, he gradually evolved a new concept of opera as a Gesamtkunstwerk (a “complete work of art”), a fusion of music, poetry and painting. He greatly increased the role and power of the orchestra, creating scores with a complex web of leitmotifs, recurring themes often associated with the characters and concepts of the drama, of which prototypes can be heard in his earlier operas such as Der fliegende Holländer, Tannhäuser and Lohengrin; and he was prepared to violate accepted musical conventions, such as tonality, in his quest for greater expressivity. In his mature music dramas, Tristan und Isolde, Die Meistersinger von Nürnberg, Der Ring des Nibelungen and Parsifal, he abolished the distinction between aria and recitative in favour of a seamless flow of “endless melody”. Wagner also brought a new philosophical dimension to opera in his works, which were usually based on stories from Germanic or Arthurian legend. Finally, Wagner built his own opera house at Bayreuth with part of the patronage from Ludwig II of Bavaria, exclusively dedicated to performing his own works in the style he wanted.

Opera would never be the same after Wagner and for many composers his legacy proved a heavy burden. On the other hand, Richard Strauss accepted Wagnerian ideas but took them in wholly new directions, along with incorporating the new form introduced by Verdi. He first won fame with the scandalous Salome and the dark tragedy Elektra, in which tonality was pushed to the limits. Then Strauss changed tack in his greatest success, Der Rosenkavalier, where Mozart and Viennese waltzes became as important an influence as Wagner. Strauss continued to produce a highly varied body of operatic works, often with libretti by the poet Hugo von Hofmannsthal. Other composers who made individual contributions to German opera in the early 20th century include Alexander von Zemlinsky, Erich Korngold, Franz Schreker, Paul Hindemith, Kurt Weill and the Italian-born Ferruccio Busoni. The operatic innovations of Arnold Schoenberg and his successors are discussed in the section on modernism.^[22]

During the late 19th century, the Austrian composer Johann Strauss II, an admirer of the French-language operettas composed by Jacques Offenbach, composed several German-language operettas, the most famous of which was Die Fledermaus.^[23] Nevertheless, rather than copying the style of Offenbach, the operettas of Strauss II had distinctly Viennese flavor to them.

French opera

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Main article: French opera

Carmen: Chanson du toréador

Duration: 3 minutes and 29 seconds.3:29

Pasquale Amato‘s 1911 rendition of the Toréador’s song from Georges Bizet‘s Carmen (1875).

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In rivalry with imported Italian opera productions, a separate French tradition was founded by the Italian-born French composer Jean-Baptiste Lully at the court of King Louis XIV. Despite his foreign birthplace, Lully established an Academy of Music and monopolised French opera from 1672. Starting with Cadmus et Hermione, Lully and his librettist Quinault created tragédie en musique, a form in which dance music and choral writing were particularly prominent. Lully’s operas also show a concern for expressive recitative which matched the contours of the French language. In the 18th century, Lully’s most important successor was Jean-Philippe Rameau, who composed five tragédies en musique as well as numerous works in other genres such as opéra-ballet, all notable for their rich orchestration and harmonic daring. Despite the popularity of Italian opera seria throughout much of Europe during the Baroque period, Italian opera never gained much of a foothold in France, where its own national operatic tradition was more popular instead.^[24] After Rameau’s death, the Bohemian-Austrian composer Gluck was persuaded to produce six operas for the Parisian stage in the 1770s.^[25] They show the influence of Rameau, but simplified and with greater focus on the drama. At the same time, by the middle of the 18th century another genre was gaining popularity in France: opéra comique. This was the equivalent of the German singspiel, where arias alternated with spoken dialogue. Notable examples in this style were produced by Monsigny, Philidor and, above all, Grétry. During the Revolutionary and Napoleonic period, composers such as Étienne Méhul, Luigi Cherubini and Gaspare Spontini, who were followers of Gluck, brought a new seriousness to the genre, which had never been wholly “comic” in any case. Another phenomenon of this period was the ‘propaganda opera’ celebrating revolutionary successes, e.g. Gossec’s Le triomphe de la République (1793).

By the 1820s, Gluckian influence in France had given way to a taste for Italian bel canto, especially after the arrival of Rossini in Paris. Rossini’s Guillaume Tell helped found the new genre of grand opera, a form whose most famous exponent was another foreigner, Giacomo Meyerbeer. Meyerbeer’s works, such as Les Huguenots, emphasised virtuoso singing and extraordinary stage effects. Lighter opéra comique also enjoyed tremendous success in the hands of Boïeldieu, Auber, Hérold and Adam. In this climate, the operas of the French-born composer Hector Berlioz struggled to gain a hearing. Berlioz’s epic masterpiece Les Troyens, the culmination of the Gluckian tradition, was not given a full performance for almost a hundred years.

In the second half of the 19th century, Jacques Offenbach created operetta with witty and cynical works such as Orphée aux enfers, as well as the opera Les Contes d’Hoffmann; Charles Gounod scored a massive success with Faust; and Georges Bizet composed Carmen, which, once audiences learned to accept its blend of Romanticism and realism, became the most popular of all opéra comiques. Jules Massenet, Camille Saint-Saëns and Léo Delibes all composed works which are still part of the standard repertory, examples being Massenet’s Manon, Saint-Saëns’ Samson et Dalila and Delibes’ Lakmé. Their operas formed another genre, the opéra lyrique, combined opéra comique and grand opera. It is less grandiose than grand opera, but without the spoken dialogue of opèra comique. At the same time, the influence of Richard Wagner was felt as a challenge to the French tradition. Many French critics angrily rejected Wagner’s music dramas while many French composers closely imitated them with variable success. Perhaps the most interesting response came from Claude Debussy. As in Wagner’s works, the orchestra plays a leading role in Debussy’s unique opera Pelléas et Mélisande (1902) and there are no real arias, only recitative. But the drama is understated, enigmatic and completely un-Wagnerian.

Other notable 20th-century names include Ravel, Dukas, Roussel, Honegger and Milhaud. Francis Poulenc is one of the very few post-war composers of any nationality whose operas (which include Dialogues des Carmélites) have gained a foothold in the international repertory. Olivier Messiaen‘s lengthy sacred drama Saint François d’Assise (1983) has also attracted widespread attention.^[26]

English-language opera

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Main article: Opera in English

Stay, Prince and hear

Duration: 46 seconds.0:46

Scene from Purcell’s Dido and Aeneas. The witches’ messenger, in the form of Mercury himself, attempts to convince Aeneas to leave Carthage.

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In England, opera’s antecedent was the 17th-century jig. This was an afterpiece that came at the end of a play. It was frequently libellous and scandalous and consisted in the main of dialogue set to music arranged from popular tunes. In this respect, jigs anticipate the ballad operas of the 18th century. At the same time, the French masque was gaining a firm hold at the English Court, with even more lavish splendour and highly realistic scenery than had been seen before. Inigo Jones became the quintessential designer of these productions, and this style was to dominate the English stage for three centuries. These masques contained songs and dances. In Ben Jonson‘s Lovers Made Men (1617), “the whole masque was sung after the Italian manner, stilo recitativo”.^[27] The approach of the English Commonwealth closed theatres and halted any developments that may have led to the establishment of English opera. However, in 1656, the dramatist Sir William Davenant produced The Siege of Rhodes. Since his theatre was not licensed to produce drama, he asked several of the leading composers (Lawes, Cooke, Locke, Coleman and Hudson) to set sections of it to music. This success was followed by The Cruelty of the Spaniards in Peru (1658) and The History of Sir Francis Drake (1659). These pieces were encouraged by Oliver Cromwell because they were critical of Spain. With the English Restoration, foreign (especially French) musicians were welcomed back. In 1673, Thomas Shadwell‘s Psyche, patterned on the 1671 ‘comédie-ballet’ of the same name produced by Molière and Jean-Baptiste Lully. William Davenant produced The Tempest in the same year, which was the first musical adaption of a Shakespeare play (composed by Locke and Johnson).^[27] About 1683, John Blow composed Venus and Adonis, often thought of as the first true English-language opera.

Blow’s immediate successor was the better known Henry Purcell. Despite the success of his masterwork Dido and Aeneas (1689), in which the action is furthered by the use of Italian-style recitative, much of Purcell’s best work was not involved in the composing of typical opera, but instead, he usually worked within the constraints of the semi-opera format, where isolated scenes and masques are contained within the structure of a spoken play, such as Shakespeare in Purcell’s The Fairy-Queen (1692) and Beaumont and Fletcher in The Prophetess (1690) and Bonduca (1696). The main characters of the play tend not to be involved in the musical scenes, which means that Purcell was rarely able to develop his characters through song. Despite these hindrances, his aim (and that of his collaborator John Dryden) was to establish serious opera in England, but these hopes ended with Purcell’s early death at the age of 36.

Following Purcell, the popularity of opera in England dwindled for several decades. A revived interest^[28] in opera occurred in the 1730s which is largely attributed to Thomas Arne, both for his own compositions and for alerting Handel to the commercial possibilities of large-scale works in English. Arne was the first English composer to experiment with Italian-style all-sung comic opera, with his greatest success being Thomas and Sally in 1760. His opera Artaxerxes (1762) was the first attempt to set a full-blown opera seria in English and was a huge success, holding the stage until the 1830s. Although Arne imitated many elements of Italian opera, he was perhaps the only English composer at that time who was able to move beyond the Italian influences and create his own unique and distinctly English voice. His modernized ballad opera, Love in a Village (1762), began a vogue for pastiche opera that lasted well into the 19th century. Charles Burney wrote that Arne introduced “a light, airy, original, and pleasing melody, wholly different from that of Purcell or Handel, whom all English composers had either pillaged or imitated”.

Besides Arne, the other dominating force in English opera at this time was George Frideric Handel, whose opera serias filled the London operatic stages for decades and influenced most home-grown composers, like John Frederick Lampe, who wrote using Italian models. This situation continued throughout the 18th and 19th centuries, including in the work of Michael William Balfe, and the operas of the great Italian composers, as well as those of Mozart, Beethoven, and Meyerbeer, continued to dominate the musical stage in England.

The only exceptions were ballad operas, such as John Gay‘s The Beggar’s Opera (1728), musical burlesques, European operettas, and late Victorian era light operas, notably the Savoy operas of W. S. Gilbert and Arthur Sullivan, all of which types of musical entertainments frequently spoofed operatic conventions; these genres contributed significantly to the emergence of the separate but closely related art of musical theatre in the late 19th century. Sullivan wrote only one grand opera, Ivanhoe (following the efforts of a number of young English composers beginning about 1876),^[27] but he claimed that even his light operas constituted part of a school of “English” opera, intended to supplant the French operettas (usually performed in bad translations) that had dominated the London stage from the mid-19th century into the 1870s. London’s Daily Telegraph agreed, describing The Yeomen of the Guard as “a genuine English opera, forerunner of many others, let us hope, and possibly significant of an advance towards a national lyric stage”.^[29] Sullivan produced a few light operas in the 1890s that were of a more serious nature than those in the G&S series, including Haddon Hall and The Beauty Stone, but Ivanhoe (which ran for 155 consecutive performances, using alternating casts—a record until Broadway’s La bohème) survives as his only grand opera.

In the 20th century, English opera began to assert more independence, with works of Ralph Vaughan Williams and in particular Benjamin Britten, who in a series of works that remain in standard repertory today, revealed an excellent flair for the dramatic and superb musicality. More recently Sir Harrison Birtwistle has emerged as one of Britain’s most significant contemporary composers from his first opera Punch and Judy to his most recent critical success in The Minotaur. In the first decade of the 21st century, the librettist of an early Birtwistle opera, Michael Nyman, has been focusing on composing operas, including Facing Goya, Man and Boy: Dada, and Love Counts. Today composers such as Thomas Adès continue to export English opera abroad.^[30]

Also in the 20th century, American composers like George Gershwin (Porgy and Bess), Scott Joplin (Treemonisha), Leonard Bernstein (Candide), Gian Carlo Menotti, Douglas Moore, and Carlisle Floyd began to contribute English-language operas infused with touches of popular musical styles. They were followed by composers such as Philip Glass (Einstein on the Beach), Mark Adamo, John Corigliano (The Ghosts of Versailles), Robert Moran, John Adams (Nixon in China), André Previn and Jake Heggie. Many contemporary 21st century opera composers have emerged such as Missy Mazzoli, Kevin Puts, Tom Cipullo, Huang Ruo, David T. Little, Terence Blanchard, Jennifer Higdon, Tobias Picker, Michael Ching, Anthony Davis, and Ricky Ian Gordon.

Russian opera

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Main article: Russian opera

Opera was brought to Russia in the 1730s by the Italian operatic troupes and soon it became an important part of entertainment for the Russian Imperial Court and aristocracy. Many foreign composers such as Baldassare Galuppi, Giovanni Paisiello, Giuseppe Sarti, and Domenico Cimarosa (as well as various others) were invited to Russia to compose new operas, mostly in the Italian language. Simultaneously some domestic musicians of Ukrainian origin like Maxim Berezovsky and Dmitry Bortniansky were sent abroad to learn to write operas. The first opera written in Russian was Tsefal i Prokris by the Italian composer Francesco Araja (1755). The development of Russian-language opera was supported by the Russian composers Vasily Pashkevich, Yevstigney Fomin and Alexey Verstovsky.

However, the real birth of Russian opera came with Mikhail Glinka and his two great operas A Life for the Tsar (1836) and Ruslan and Lyudmila (1842). After him, during the 19th century in Russia, there were written such operatic masterpieces as Rusalka and The Stone Guest by Alexander Dargomyzhsky, Boris Godunov and Khovanshchina by Modest Mussorgsky, Prince Igor by Alexander Borodin, Eugene Onegin and The Queen of Spades by Pyotr Tchaikovsky, and The Snow Maiden and Sadko by Nikolai Rimsky-Korsakov. These developments mirrored the growth of Russian nationalism across the artistic spectrum, as part of the more general Slavophilism movement.

In the 20th century, the traditions of Russian opera were developed by many composers including Sergei Rachmaninoff in his works The Miserly Knight and Francesca da Rimini, Igor Stravinsky in Le Rossignol, Mavra, Oedipus rex, and The Rake’s Progress, Sergei Prokofiev in The Gambler, The Love for Three Oranges, The Fiery Angel, Betrothal in a Monastery, and War and Peace; as well as Dmitri Shostakovich in The Nose and Lady Macbeth of the Mtsensk District, Edison Denisov in L’écume des jours, and Alfred Schnittke in Life with an Idiot and Historia von D. Johann Fausten.^[31]

Czech opera

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Czech composers also developed a thriving national opera movement of their own in the 19th century, starting with Bedřich Smetana, who wrote eight operas including the internationally popular The Bartered Bride. Smetana’s eight operas created the bedrock of the Czech opera repertory, but of these only The Bartered Bride is performed regularly outside the composer’s homeland. After reaching Vienna in 1892 and London in 1895 it rapidly became part of the repertory of every major opera company worldwide.

Antonín Dvořák‘s nine operas, except his first, have librettos in Czech and were intended to convey the Czech national spirit, as were some of his choral works. By far the most successful of the operas is Rusalka which contains the well-known aria “Měsíčku na nebi hlubokém” (“Song to the Moon”); it is played on contemporary opera stages frequently outside the Czech Republic. This is attributable to their uneven invention and libretti, and perhaps also their staging requirements – The Jacobin, Armida, Vanda and Dimitrij need stages large enough to portray invading armies.

Leoš Janáček gained international recognition in the 20th century for his innovative works. His later, mature works incorporate his earlier studies of national folk music in a modern, highly original synthesis, first evident in the opera Jenůfa, which was premiered in 1904 in Brno. The success of Jenůfa (often called the “Moravian national opera”) at Prague in 1916 gave Janáček access to the world’s great opera stages. Janáček’s later works are his most celebrated. They include operas such as Káťa Kabanová and The Cunning Little Vixen, the Sinfonietta and the Glagolitic Mass.

Other national operas

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Spain also produced its own distinctive form of opera, known as zarzuela, which had two separate flowerings: one from the mid-17th century through the mid-18th century, and another beginning around 1850. During the late 18th century up until the mid-19th century, Italian opera was immensely popular in Spain, supplanting the native form.

In Russian Eastern Europe, several national operas began to emerge. Ukrainian opera was developed by Semen Hulak-Artemovsky (1813–1873) whose most famous work Zaporozhets za Dunayem (A Cossack Beyond the Danube) is regularly performed around the world. Other Ukrainian opera composers include Mykola Lysenko (Taras Bulba and Natalka Poltavka), Heorhiy Maiboroda, and Yuliy Meitus. At the turn of the century, a distinct national opera movement also began to emerge in Georgia under the leadership Zacharia Paliashvili, who fused local folk songs and stories with 19th-century Romantic classical themes.

The key figure of Hungarian national opera in the 19th century was Ferenc Erkel, whose works mostly dealt with historical themes. Among his most often performed operas are Hunyadi László and Bánk bán. The most famous modern Hungarian opera is Béla Bartók‘s Duke Bluebeard’s Castle.

Stanisław Moniuszko‘s opera Straszny Dwór (in English The Haunted Manor) (1861–64) represents a nineteenth-century peak of Polish national opera.^[32] In the 20th century, other operas created by Polish composers included King Roger by Karol Szymanowski and Ubu Rex by Krzysztof Penderecki.

The first known opera from Turkey (the Ottoman Empire) was Arshak II, which was an Armenian opera composed by an ethnic Armenian composer Tigran Chukhajian in 1868 and partially performed in 1873. It was fully staged in 1945 in Armenia.

The first years of the Soviet Union saw the emergence of new national operas, such as the Koroğlu (1937) by the Azerbaijani composer Uzeyir Hajibeyov. The first Kyrgyz opera, Ai-Churek, premiered in Moscow at the Bolshoi Theatre on 26 May 1939, during Kyrgyz Art Decade. It was composed by Vladimir Vlasov, Abdylas Maldybaev and Vladimir Fere. The libretto was written by Joomart Bokonbaev, Jusup Turusbekov, and Kybanychbek Malikov. The opera is based on the Kyrgyz heroic epic Manas.^[33][34]

In Iran, opera gained more attention after the introduction of Western classical music in the late 19th century. However, it took until mid 20th century for Iranian composers to start experiencing with the field, especially as the construction of the Roudaki Hall in 1967, made possible staging of a large variety of works for stage. Perhaps, the most famous Iranian opera is Rostam and Sohrab by Loris Tjeknavorian premiered not until the early 2000s.

Chinese contemporary classical opera, a Chinese language form of Western style opera that is distinct from traditional Chinese opera, has had operas dating back to The White-Haired Girl in 1945.^[35][36][37]

In Latin America, opera started as a result of European colonisation. The first opera ever written in the Americas was 1701’s La púrpura de la rosa, by Tomás de Torrejón y Velasco, a Peruvian composer born in Spain; a decade later, 1711’s Partenope, by the Mexican Manuel de Zumaya, was the first opera written from a composer born in Latin America (music now lost). The first Brazilian opera for a libretto in Portuguese was A Noite de São João, by Elias Álvares Lobo. However, Antônio Carlos Gomes is generally regarded as the most outstanding Brazilian composer, having a relative success in Italy with its Brazilian-themed operas with Italian librettos, such as Il Guarany. Opera in Argentina developed in the 20th century after the inauguration of Teatro Colón in Buenos Aires—with the opera Aurora, by Ettore Panizza, being heavily influenced by the Italian tradition, due to immigration. Other important composers from Argentina include Felipe Boero and Alberto Ginastera.

Contemporary, recent, and modernist trends

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Modernism

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Perhaps the most obvious stylistic manifestation of modernism in opera is the development of atonality. The move away from traditional tonality in opera had begun with Richard Wagner, and in particular the Tristan chord. Composers such as Richard Strauss, Claude Debussy, Giacomo Puccini,^[38] Paul Hindemith, Benjamin Britten and Hans Pfitzner pushed Wagnerian harmony further with a more extreme use of chromaticism and greater use of dissonance. Another aspect of modernist opera is the shift away from long, suspended melodies, to short quick mottos, as first illustrated by Giuseppe Verdi in his Falstaff. Composers such as Strauss, Britten, Shostakovich and Stravinsky adopted and expanded upon this style.

Operatic modernism truly began in the operas of two Viennese composers, Arnold Schoenberg and his student Alban Berg, both composers and advocates of atonality and its later development (as worked out by Schoenberg), dodecaphony. Schoenberg’s early musico-dramatic works, Erwartung (1909, premiered in 1924) and Die glückliche Hand display heavy use of chromatic harmony and dissonance in general. Schoenberg also occasionally used Sprechstimme.

The two operas of Schoenberg’s pupil Alban Berg, Wozzeck (1925) and Lulu (incomplete at his death in 1935) share many of the same characteristics as described above, though Berg combined his highly personal interpretation of Schoenberg’s twelve-tone technique with melodic passages of a more traditionally tonal nature (quite Mahlerian in character) which perhaps partially explains why his operas have remained in standard repertory, despite their controversial music and plots. Schoenberg’s theories have influenced (either directly or indirectly) significant numbers of opera composers ever since, even if they themselves did not compose using his techniques.

Composers thus influenced include the Englishman Benjamin Britten, the German Hans Werner Henze, and the Russian Dmitri Shostakovich. (Philip Glass also makes use of atonality, though his style is generally described as minimalist, usually thought of as another 20th-century development.)^[39]

However, operatic modernism’s use of atonality also sparked a backlash in the form of neoclassicism. An early leader of this movement was Ferruccio Busoni, who in 1913 wrote the libretto for his neoclassical number opera Arlecchino (first performed in 1917).^[40] Also among the vanguard was the Russian Igor Stravinsky. After composing music for the Diaghilev-produced ballets Petrushka (1911) and The Rite of Spring (1913), Stravinsky turned to neoclassicism, a development culminating in his opera-oratorio Oedipus rex (1927). Stravinsky had already turned away from the modernist trends of his early ballets to produce small-scale works that do not fully qualify as opera, yet certainly contain many operatic elements, including Renard (1916: “a burlesque in song and dance”) and The Soldier’s Tale (1918: “to be read, played, and danced”; in both cases the descriptions and instructions are those of the composer). In the latter, the actors declaim portions of speech to a specified rhythm over instrumental accompaniment, peculiarly similar to the older German genre of Melodrama. Well after his Rimsky-Korsakov-inspired works The Nightingale (1914), and Mavra (1922), Stravinsky continued to ignore serialist technique and eventually wrote a full-fledged 18th-century-style diatonic number opera The Rake’s Progress (1951). His resistance to serialism (an attitude he reversed following Schoenberg’s death) proved to be an inspiration for many^[who?] other composers.^[41]

Other trends

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A common trend throughout the 20th century, in both opera and general orchestral repertoire, is the use of smaller orchestras as a cost-cutting measure; the grand Romantic-era orchestras with huge string sections, multiple harps, extra horns, and exotic percussion instruments were no longer feasible. As government and private patronage of the arts decreased throughout the 20th century, new works were often commissioned and performed with smaller budgets, very often resulting in chamber-sized works, and short, one-act operas. Many of Benjamin Britten‘s operas are scored for as few as 13 instrumentalists; Mark Adamo‘s two-act realization of Little Women is scored for 18 instrumentalists.

Another feature of late 20th-century opera is the emergence of contemporary historical operas, in contrast to the tradition of basing operas on more distant history, the re-telling of contemporary fictional stories or plays, or on myth or legend. The Death of Klinghoffer, Nixon in China, and Doctor Atomic by John Adams, Dead Man Walking by Jake Heggie, Anna Nicole by Mark-Anthony Turnage, and Waiting for Miss Monroe^[42] by Robin de Raaff exemplify the dramatisation onstage of events in recent living memory, where characters portrayed in the opera were alive at the time of the premiere performance.

The Metropolitan Opera in the US (often known as the Met) reported in 2011 that the average age of its audience was 60.^[43] Many opera companies attempted to attract a younger audience to halt the larger trend of greying audiences for classical music since the last decades of the 20th century.^[44] Efforts resulted in lowering the average age of the Met’s audience to 58 in 2018, the average age at Berlin State Opera was reported as 54, and Paris Opera reported an average age of 48.^[45] New York Times critic Anthony Tommasini has suggested that “companies inordinately beholden to standard repertory” are not reaching younger, more curious audiences.^[46]

Smaller companies in the US have a more fragile existence, and they usually depend on a “patchwork quilt” of support from state and local governments, local businesses, and fundraisers. Nevertheless, some smaller companies have found ways of drawing new audiences. In addition to radio and television broadcasts of opera performances, which have had some success in gaining new audiences, broadcasts of live performances to movie theatres have shown the potential to reach new audiences.^[47]

From musicals back towards opera

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By the late 1930s, some musicals began to be written with a more operatic structure. These works include complex polyphonic ensembles and reflect musical developments of their times. Porgy and Bess (1935), influenced by jazz styles, and Candide (1956), with its sweeping, lyrical passages and farcical parodies of opera, both opened on Broadway but became accepted as part of the opera repertory. Popular musicals such as Show Boat, West Side Story, Brigadoon, Sweeney Todd, Passion, Evita, The Light in the Piazza, The Phantom of the Opera and others tell dramatic stories through complex music and in the 2010s they are sometimes seen in opera houses.^[48] The Most Happy Fella (1952) is quasi-operatic and has been revived by the New York City Opera. Other rock-influenced musicals, such as Tommy (1969) and Jesus Christ Superstar (1971), Les Misérables (1980), Rent (1996), Spring Awakening (2006), and Natasha, Pierre & The Great Comet of 1812 (2012) employ various operatic conventions, such as through composition, recitative instead of dialogue, and leitmotifs.

Acoustic enhancement in opera

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A subtle type of sound electronic reinforcement called acoustic enhancement is used in some modern concert halls and theatres where operas are performed. Although none of the major opera houses “…use traditional, Broadway-style sound reinforcement, in which most if not all singers are equipped with radio microphones mixed to a series of unsightly loudspeakers scattered throughout the theatre”, many use a sound reinforcement system for acoustic enhancement and for subtle boosting of offstage voices, child singers, onstage dialogue, and sound effects (e.g., church bells in Tosca or thunder effects in Wagnerian operas).^[49]

Operatic voices

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Operatic vocal technique evolved, in a time before electronic amplification, to allow singers to produce enough volume to be heard over an orchestra, without the instrumentalists having to substantially compromise their volume.

Vocal classifications

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Singers and the roles they play are classified by voice type, based on the tessitura, agility, power and timbre of their voices. Male singers can be classified by vocal range as bass, bass-baritone, baritone, baritenor, tenor and countertenor, and female singers as contralto, mezzo-soprano and soprano. (Men sometimes sing in the “female” vocal ranges, in which case they are termed sopranist or countertenor. The countertenor is commonly encountered in opera, sometimes singing parts written for castrati—men neutered at a young age specifically to give them a higher singing range.) Singers are then further classified by size—for instance, a soprano can be described as a lyric soprano, coloratura, soubrette, spinto, or dramatic soprano. These terms, although not fully describing a singing voice, associate the singer’s voice with the roles most suitable to the singer’s vocal characteristics.

Yet another sub-classification can be made according to acting skills or requirements, for example the basso buffo who often must be a specialist in patter as well as a comic actor. This is carried out in detail in the Fach system of German speaking countries, where historically opera and spoken drama were often put on by the same repertory company.

A particular singer’s voice may change drastically over his or her lifetime, rarely reaching vocal maturity until the third decade, and sometimes not until middle age. Two French voice types, premiere dugazon and deuxieme dugazon, were named after successive stages in the career of Louise-Rosalie Lefebvre (Mme. Dugazon). Other terms originating in the star casting system of the Parisian theatres are baryton-martin and soprano falcon.

Historical use of voice parts

[edit]The following is only intended as a brief overview. For the main articles, see soprano, mezzo-soprano, contralto, tenor, baritone, bass, countertenor and castrato.

The soprano voice has typically been used as the voice of choice for the female protagonist of the opera since the latter half of the 18th century. Earlier, it was common for that part to be sung by any female voice, or even a castrato. The current emphasis on a wide vocal range was primarily an invention of the Classical period. Before that, the vocal virtuosity, not range, was the priority, with soprano parts rarely extending above a high A (Handel, for example, only wrote one role extending to a high C), though the castrato Farinelli was alleged to possess a top D (his lower range was also extraordinary, extending to tenor C). The mezzo-soprano, a term of comparatively recent origin, also has a large repertoire, ranging from the female lead in Purcell’s Dido and Aeneas to such heavyweight roles as Brangäne in Wagner’s Tristan und Isolde (these are both roles sometimes sung by sopranos; there is quite a lot of movement between these two voice-types). For the true contralto, the range of parts is more limited, which has given rise to the insider joke that contraltos only sing “witches, bitches, and britches” roles. In recent years many of the “trouser roles” from the Baroque era, originally written for women, and those originally sung by castrati, have been reassigned to countertenors.

The tenor voice, from the Classical era onwards, has traditionally been assigned the role of male protagonist. Many of the most challenging tenor roles in the repertory were written during the bel canto era, such as Donizetti‘s sequence of 9 Cs above middle C during La fille du régiment. With Wagner came an emphasis on vocal heft for his protagonist roles, with this vocal category described as Heldentenor; this heroic voice had its more Italianate counterpart in such roles as Calaf in Puccini’s Turandot. Basses have a long history in opera, having been used in opera seria in supporting roles, and sometimes for comic relief (as well as providing a contrast to the preponderance of high voices in this genre). The bass repertoire is wide and varied, stretching from the comedy of Leporello in Don Giovanni to the nobility of Wotan in Wagner’s Ring Cycle, to the conflicted King Phillip of Verdi’s Don Carlos. In between the bass and the tenor is the baritone, which also varies in weight from say, Guglielmo in Mozart’s Così fan tutte to Posa in Verdi’s Don Carlos; the actual designation “baritone” was not standard until the mid-19th century.

Famous singers

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Early performances of opera were too infrequent for singers to make a living exclusively from the style, but with the birth of commercial opera in the mid-17th century, professional performers began to emerge. The role of the male hero was usually entrusted to a castrato, and by the 18th century, when Italian opera was performed throughout Europe, leading castrati who possessed extraordinary vocal virtuosity, such as Senesino and Farinelli, became international stars. The career of the first major female star (or prima donna), Anna Renzi, dates to the mid-17th century. In the 18th century, a number of Italian sopranos gained international renown and often engaged in fierce rivalry, as was the case with Faustina Bordoni and Francesca Cuzzoni, who started a fistfight with one another during a performance of a Handel opera. The French disliked castrati, preferring their male heroes to be sung by an haute-contre (a high tenor), of which Joseph Legros (1739–1793) was a leading example.^[50]

Though opera patronage has decreased in the last century in favor of other arts and media (such as musicals, cinema, radio, television and recordings), mass media and the advent of recording have supported the popularity of many famous singers including Anna Netrebko, Maria Callas, Enrico Caruso, Amelita Galli-Curci, Kirsten Flagstad, Mario Del Monaco, Renata Tebaldi, Risë Stevens, Alfredo Kraus, Franco Corelli, Montserrat Caballé, Joan Sutherland, Birgit Nilsson, Nellie Melba, Rosa Ponselle, Beniamino Gigli, Jussi Björling, Feodor Chaliapin, Cecilia Bartoli, Elena Obraztsova, Renée Fleming, Galina Vishnevskaya, Marilyn Horne, Bryn Terfel, Dmitri Hvorostovsky and The Three Tenors (Luciano Pavarotti, Plácido Domingo, José Carreras).

Changing role of the orchestra

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Before the 1700s, Italian operas used a small string orchestra, but it rarely played to accompany the singers. Opera solos during this period were accompanied by the basso continuo group, which consisted of the harpsichord, “plucked instruments” such as lute and a bass instrument.^[51] The string orchestra typically only played when the singer was not singing, such as during a singer’s “…entrances and exits, between vocal numbers, [or] for [accompanying] dancing”. Another role for the orchestra during this period was playing an orchestral ritornello to mark the end of a singer’s solo.^[51] During the early 1700s, some composers began to use the string orchestra to mark certain aria or recitatives “…as special”; by 1720, most arias were accompanied by an orchestra. Opera composers such as Domenico Sarro, Leonardo Vinci, Giambattista Pergolesi, Leonardo Leo, and Johann Adolph Hasse added new instruments to the opera orchestra and gave the instruments new roles. They added wind instruments to the strings and used orchestral instruments to play instrumental solos, as a way to mark certain arias as special.^[51]

The orchestra has also provided an instrumental overture before the singers come onstage since the 1600s. Peri‘s Euridice opens with a brief instrumental ritornello, and Monteverdi‘s L’Orfeo (1607) opens with a toccata, in this case a fanfare for muted trumpets. The French overture as found in Jean-Baptiste Lully‘s operas^[52] consist of a slow introduction in a marked “dotted rhythm”, followed by a lively movement in fugato style. The overture was frequently followed by a series of dance tunes before the curtain rose. This overture style was also used in English opera, most notably in Henry Purcell‘s Dido and Aeneas. Handel also uses the French overture form in some of his Italian operas such as Giulio Cesare.^[53]

In Italy, a distinct form called “overture” arose in the 1680s, and became established particularly through the operas of Alessandro Scarlatti, and spread throughout Europe, supplanting the French form as the standard operatic overture by the mid-18th century.^[54] It uses three generally homophonic movements: fast–slow–fast. The opening movement was normally in duple metre and in a major key; the slow movement in earlier examples was short, and could be in a contrasting key; the concluding movement was dance-like, most often with rhythms of the gigue or minuet, and returned to the key of the opening section. As the form evolved, the first movement may incorporate fanfare-like elements and took on the pattern of so-called “sonatina form” (sonata form without a development section), and the slow section became more extended and lyrical.^[54]

In Italian opera after about 1800, the “overture” became known as the sinfonia.^[55] Fisher also notes the term Sinfonia avanti l’opera (literally, the “symphony before the opera”) was “an early term for a sinfonia used to begin an opera, that is, as an overture as opposed to one serving to begin a later section of the work”.^[55] In 19th-century opera, in some operas, the overture, Vorspiel, Einleitung, Introduction, or whatever else it may be called, was the portion of the music which takes place before the curtain rises; a specific, rigid form was no longer required for the overture.

The role of the orchestra in accompanying the singers changed over the 19th century, as the Classical style transitioned to the Romantic era. In general, orchestras got bigger, new instruments were added, such as additional percussion instruments (e.g., bass drum, cymbals, snare drum, etc.). The orchestration of orchestra parts also developed over the 19th century. In Wagnerian operas, the forefronting of the orchestra went beyond the overture. In Wagnerian operas such as the Ring Cycle, the orchestra often played the recurrent musical themes or leitmotifs, a role which gave a prominence to the orchestra which “…elevated its status to that of a prima donna“.^[56] Wagner’s operas were scored with unprecedented scope and complexity, adding more brass instruments and huge ensemble sizes: indeed, his score to Das Rheingold calls for six harps. In Wagner and the work of subsequent composers, such as Benjamin Britten, the orchestra “often communicates facts about the story that exceed the levels of awareness of the characters therein. As a result, critics began to regard the orchestra as performing a role analogous to that of a literary narrator.”^[57]

As the role of the orchestra and other instrumental ensembles changed over the history of opera, so did the role of leading the musicians. In the Baroque era, the musicians were usually directed by the harpsichord player, although the French composer Lully is known to have conducted with a long staff. In the 1800s, during the Classical period, the first violinist, also known as the concertmaster, would lead the orchestra while sitting. Over time, some directors began to stand up and use hand and arm gestures to lead the performers. Eventually this role of music director became termed the conductor, and a podium was used to make it easier for all the musicians to see him or her. By the time Wagnerian operas were introduced, the complexity of the works and the huge orchestras used to play them gave the conductor an increasingly important role. Modern opera conductors have a challenging role: they have to direct both the orchestra in the orchestra pit and the singers on stage.

Language and translation issues

[edit]

Since the days of Handel and Mozart, many composers have favored Italian as the language for the libretto of their operas. From the Bel Canto era to Verdi, composers would sometimes supervise versions of their operas in both Italian and French. Because of this, operas such as Lucia di Lammermoor or Don Carlos are today deemed canonical in both their French and Italian versions.^[58]

Until the mid-1950s, it was acceptable to produce operas in translations even if these had not been authorized by the composer or the original librettists. For example, opera houses in Italy routinely staged Wagner in Italian.^[59] After World War II, opera scholarship improved, artists refocused on the original versions, and translations fell out of favor. Knowledge of European languages, especially Italian, French, and German, is today an important part of the training for professional singers. “The biggest chunk of operatic training is in linguistics and musicianship”, explains mezzo-soprano Dolora Zajick. “[I have to understand] not only what I’m singing, but what everyone else is singing. I sing Italian, Czech, Russian, French, German, English.”^[60]

In the 1980s, supertitles (sometimes called surtitles) began to appear. Although supertitles were first almost universally condemned as a distraction,^[61] today many opera houses provide either supertitles, generally projected above the theatre’s proscenium arch, or individual seat screens where spectators can choose from more than one language. TV broadcasts typically include subtitles even if intended for an audience who knows the language well (for example, a RAI broadcast of an Italian opera). These subtitles target not only the hard of hearing but the audience generally, since a sung discourse is much harder to understand than a spoken one—even in the ears of native speakers. Subtitles in one or more languages have become standard in opera broadcasts, simulcasts, and DVD editions.

Today, operas are only rarely performed in translation. Exceptions include the English National Opera, the Opera Theatre of Saint Louis, Opera Theater of Pittsburgh, and Opera South East,^[62] which favor English translations.^[63] Another exception are opera productions intended for a young audience, such as Humperdinck’s Hansel and Gretel^[64] and some productions of Mozart’s The Magic Flute.^[65]

Funding

[edit]

Outside the US, and especially in Europe, most opera houses receive public subsidies from taxpayers.^[66] In Milan, Italy, 60% of La Scala’s annual budget of €115 million is from ticket sales and private donations, with the remaining 40% coming from public funds.^[67] In 2005, La Scala received 25% of Italy’s total state subsidy of €464 million for the performing arts.^[68] In the UK, Arts Council England provides funds to Opera North, the Royal Opera House, Welsh National Opera, and English National Opera. Between 2012 and 2015, these four opera companies along with the English National Ballet, Birmingham Royal Ballet and Northern Ballet accounted for 22% of the funds in the Arts Council’s national portfolio. During that period, the Council undertook an analysis of its funding for large-scale opera and ballet companies, setting recommendations and targets for the companies to meet prior to the 2015–2018 funding decisions.^[69] In February 2015, concerns over English National Opera’s business plan led to the Arts Council placing it “under special funding arrangements” in what The Independent termed “the unprecedented step” of threatening to withdraw public funding if the council’s concerns were not met by 2017.^[70] European public funding to opera has led to a disparity between the number of year-round opera houses in Europe and the United States. For example, “Germany has about 80 year-round opera houses [as of 2004], while the U.S., with more than three times the population, does not have any. Even the Met only has a seven-month season.”^[71]

Television, cinema and the Internet

[edit]

A milestone for opera broadcasting in the U.S. was achieved on 24 December 1951, with the live broadcast of Amahl and the Night Visitors, an opera in one act by Gian Carlo Menotti. It was the first opera specifically composed for television in America.^[72] Another milestone occurred in Italy in 1992 when Tosca was broadcast live from its original Roman settings and times of the day: the first act came from the 16th-century Church of Sant’Andrea della Valle at noon on Saturday; the 16th-century Palazzo Farnese was the setting for the second at 8:15 pm; and on Sunday at 6 am, the third act was broadcast from Castel Sant’Angelo. The production was transmitted via satellite to 105 countries.^[73]

Major opera companies have begun presenting their performances in local cinemas throughout the United States and many other countries. The Metropolitan Opera began a series of live high-definition video transmissions to cinemas around the world in 2006.^[74] In 2007, Met performances were shown in over 424 theaters in 350 U.S. cities. La bohème went out to 671 screens worldwide. San Francisco Opera began prerecorded video transmissions in March 2008. As of June 2008, approximately 125 theaters in 117 U.S. cities carry the showings. The HD video opera transmissions are presented via the same HD digital cinema projectors used for major Hollywood films.^[75] European opera houses and festivals including The Royal Opera in London, La Scala in Milan, the Salzburg Festival, La Fenice in Venice, and the Maggio Musicale in Florence have also transmitted their productions to theaters in cities around the world since 2006, including 90 cities in the U.S.^[76][77]

The emergence of the Internet has also affected the way in which audiences consume opera. In 2009 the British Glyndebourne Festival Opera offered for the first time an online digital video download of its complete 2007 production of Tristan und Isolde. In the 2013 season, the festival streamed all six of its productions online.^[78][79] In July 2012, the first online community opera was premiered at the Savonlinna Opera Festival. Titled Free Will, it was created by members of the Internet group Opera By You. Its 400 members from 43 countries wrote the libretto, composed the music, and designed the sets and costumes using the Wreckamovie web platform. Savonlinna Opera Festival provided professional soloists, an 80-member choir, a symphony orchestra, and the stage machinery. It was performed live at the festival and streamed live on the internet

Honey is a sweet and viscous substance made by several species of bees, the best-known of which are honey bees.^[1][2] Honey is made and stored to nourish bee colonies. Bees produce honey by gathering and then refining the sugary secretions of plants (primarily floral nectar) or the secretions of other insects, like the honeydew of aphids. This refinement takes place both within individual bees, through regurgitation and enzymatic activity, and during storage in the hive, through water evaporation that concentrates the honey’s sugars until it is thick and viscous.

Honey bees stockpile honey in the hive. Within the hive is a structure made from wax called honeycomb. The honeycomb is made up of hundreds or thousands of hexagonal cells, into which the bees regurgitate honey for storage. Other honey-producing species of bee store the substance in different structures, such as the pots made of wax and resin used by the stingless bee.^[1][2][3]

Honey for human consumption is collected from wild bee colonies, or from the hives of domesticated bees. The honey produced by honey bees is the most familiar to humans, thanks to its worldwide commercial production and availability.^[4] The husbandry of bees is known as beekeeping or apiculture, with the cultivation of stingless bees usually referred to as meliponiculture.

Honey is sweet because of its high concentrations of the monosaccharides fructose and glucose. It has about the same relative sweetness as sucrose (table sugar).^[5][6] One standard tablespoon (15 mL) of honey provides around 190 kilojoules (46 kilocalories) of food energy.^[7] It has attractive chemical properties for baking and a distinctive flavor when used as a sweetener.^[5] Most microorganisms cannot grow in honey and sealed honey therefore does not spoil. Samples of honey discovered in archaeological contexts have proven edible even after millennia.^[8][9]

Honey use and production has a long and varied history, with its beginnings in prehistoric times. Several cave paintings in Cuevas de la Araña in Spain depict humans foraging for honey at least 8,000 years ago.^[10][11] While Apis mellifera is an Old World insect, large-scale meliponiculture of New World stingless bees has been practiced by Mayans since pre-Columbian times.^[2][12]

Formation

By honey bees

Honey is produced by bees who have collected nectar or honeydew. Bees value honey for its sugars, which they consume to support general metabolic activity, especially that of their flight muscles during foraging, and as a food for their larvae. To this end bees stockpile honey to provide for themselves during ordinary foraging as well as during lean periods, as in overwintering.^[13][14] During foraging bees use part of the nectar they collect to power their flight muscles. The majority of nectar collected is not used to directly nourish the insects but is instead destined for regurgitation, enzymatic digestion, and finally long-term storage as honey.^[13][15] During cold weather or when other food sources are scarce, adult and larval bees consume stored honey, which is many times more energy-dense as the nectar from which it is made.^[14]

After leaving the hive, a foraging bee collects sugar-rich nectar or honeydew. Nectar from the flower generally has a water content of 70 to 80% and is much less viscous than finished honey, which usually has a water content around 18%.^[16][17] The water content of honeydew from aphids and other true bugs is generally very close to the sap on which those insects feed and is usually somewhat more dilute than nectar. One source describes the water content of honeydew as around 89%.^[18] Whether it is feeding on nectar or honeydew, the bee sucks these runny fluids through its proboscis, which delivers the liquid to the bee’s honey stomach or “honey crop”.^[15] This cavity lies just above its food stomach, the latter of which digests pollen and sugars consumed by an individual honey bee for its own nourishment.

In Apis mellifera, the honey stomach holds about 40 mg of liquid. This is about half the weight of an unladen bee. Collecting this quantity in nectar can require visits to more than a thousand flowers. When nectar is plentiful, it can take a bee more than an hour of ceaseless work to collect enough nectar to fill its honey crop. Salivary enzymes and proteins from the bee’s hypopharyngeal gland are secreted into the nectar once it is in the bee’s honey stomach. These substances begin cleaving complex sugars like sucrose and starches into simpler sugars such as glucose and fructose. This process slightly raises the water content and the acidity of the partially digested nectar.^[13][19]

Once filled, the forager bees return to the hive. There they regurgitate and transfer nectar to hive bees. Once it is in their own honey stomachs, the hive bees regurgitate the nectar, repeatedly forming bubbles between their mandibles, speeding its digestion and concentration. These bubbles create a large surface area per volume and by this means the bees evaporate a portion of the nectar’s water into the warm air of the hive.^[13][15][20]

Hive bees form honey-processing groups. These groups work in relay, with one bee subjecting the processed nectar to bubbling and then passing the refined liquid on to others. It can take as long as 20 minutes of continuous regurgitation, digestion and evaporation until the product reaches storage quality.^[15] The new honey is then placed in honeycomb cells, which are left uncapped. This honey still has a very high water content, up to 70%, depending on the concentration of nectar gathered. At this stage of its refinement the water content of the honey is high enough that ubiquitous yeast spores can reproduce in it, a process which, if left unchecked, would rapidly consume the new honey’s sugars.^[21] To combat this, bees use an ability rare among insects: the endogenous generation of heat.

Bees are among the few insects that can create large amounts of body heat. They use this ability to produce a constant ambient temperature in their hives. Hive temperatures are usually around 35 °C (95 °F) in the honey-storage areas. This temperature is regulated either by generating heat with their bodies or removing it through water evaporation. The evaporation removes water from the stored honey, drawing heat from the colony. The bees use their wings to govern hive cooling. Coordinated wing beating moves air across the wet honey, drawing out water and heat. Ventilation of the hive eventually expels both excess water and heat into the outside world.

The process of evaporating continues until the honey reaches its final water content of between 15.5% to 18%.^[16] This concentrates the sugars far beyond the saturation point of water, which is to say there is far more sugar dissolved in what little water remains in honey than ever could be dissolved in an equivalent volume of water. Honey, even at hive temperatures, is therefore a supercooled solution of various sugars in water. These concentrations of sugar can only be achieved near room temperature by evaporation of a less concentrated solution, in this case nectar. For osmotic reasons such high concentrations of sugar are extremely unfavorable to microbiological reproduction and all fermentation is consequently halted.^[14][15] The bees then cap the cells of finished honey with wax. This seals them from contamination and prevents further evaporation.^[15]

So long as its water concentration does not rise much above 18%, honey has an indefinite shelf life, both within the hive and after its removal by a beekeeper.^[14]

By other insects

Honey bees are not the only eusocial insects to produce honey. All non-parasitic bumblebees and stingless bees produce honey. Some wasp species, such as Brachygastra lecheguana and Brachygastra mellifica, found in South and Central America, are known to feed on nectar and produce honey.^[22] Other wasps, such as Polistes versicolor, also consume honey. In the middle of their life cycles they alternate between feeding on protein-rich pollen and feeding on honey, which is a far denser source of food energy.^[23]

Human intervention

Human beings have semi-domesticated several species of honey bee by taking advantage of their swarming stage. Swarming is the means by which new colonies are established when there is no longer space for expansion in the colony’s present hive. The old queen lays eggs that will develop into new queens and then leads as many as half the colony to a site for a new hive. Bees generally swarm before a suitable location for another hive has been discovered by scouts sent out for this purpose. Until such a location is found the swarm will simply conglomerate near the former hive, often from tree branches. These swarms are unusually docile and amenable to transport by humans. When provided with a suitable nesting site, such as a commercial Langstroth hive, the swarm will readily form a new colony in artificial surroundings. These semi-domesticated colonies are then looked after by humans practicing apiculture or meliponiculture. Captured bees are encouraged to forage, often in agricultural settings such as orchards, where pollinators are highly valued. The honey, pollen, wax and resins the bees produce are all harvested by humans for a variety of uses.^[24]

The term “semi-domesticated” is preferred because all bee colonies, even those in very large agricultural apiculture operations, readily leave the protection of humans in swarms that can establish successful wild colonies. Much of the effort in commercial beekeeping is dedicated to persuading a hive that is ready to swarm to produce more honeycomb in its present location. This is usually done by adding more space to the colony with honey supers, empty boxes placed on top of an existing colony. The bees can then usually be enticed to develop this empty space instead of dividing their colony through swarming.^[25]

Production

Collection

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Honey is collected from wild bee colonies or from domesticated beehives. On average, a hive will produce about 29 kilograms (65 lb) of honey per year.^[26] Wild bee nests are sometimes located by following a honeyguide bird.

To safely collect honey from a hive, beekeepers typically pacify the bees using a bee smoker. The smoke triggers a feeding instinct (an attempt to save the resources of the hive from a possible fire), making them less aggressive, and obscures the pheromones the bees use to communicate. The honeycomb is removed from the hive and the honey may be extracted from it either by crushing or by using a honey extractor. The honey is then usually filtered to remove beeswax and other debris.

Before the invention of removable frames, bee colonies were often sacrificed to conduct the harvest. The harvester would take all the available honey and replace the entire colony the next spring. Since the invention of removable frames, the principles of husbandry led most beekeepers to ensure that their bees have enough stores to survive the winter, either by leaving some honey in the beehive or by providing the colony with a honey substitute such as sugar water or crystalline sugar (often in the form of a “candyboard”). The amount of food necessary to survive the winter depends on the variety of bees and on the length and severity of local winters.

Many animal species are attracted to wild or domestic sources of honey.^[27]

Preservation

Because of its composition and chemical properties, honey is suitable for long-term storage, and is easily assimilated even after long preservation. Honey, and objects immersed in honey, have been preserved for centuries.^[28][29] (However, no edible honey has been found in Egyptian tombs; all such cases have been proven to be other substances or only chemical traces.^[30]) The key to preservation is limiting access to humidity. In its cured state, honey has a sufficiently high sugar content to inhibit fermentation. If exposed to moist air, its hydrophilic properties pull moisture into the honey, eventually diluting it to the point that fermentation can begin.^[31]

The long shelf life of honey is attributed to an enzyme found in the stomach of bees. The bees mix glucose oxidase with expelled nectar they previously consumed, creating two byproducts – gluconic acid and hydrogen peroxide, which are partially responsible for honey acidity and suppression of bacterial growth.^[8]

Adulteration

Honey is sometimes adulterated by the addition of other sugars, syrups, or compounds to change its flavor or viscosity, reduce cost, or increase the fructose content to inhibit crystallization. Honey has been adulterated since ancient times, when honey was sometimes blended with plant syrups such as maple, birch, or sorghum and sold to customers as pure honey. Sometimes crystallized honey was mixed with flour or other fillers, hiding the adulteration from buyers until the honey was liquefied. In modern times, the most common adulterant became clear, almost-flavorless corn syrup; the adulterated mixture can be very difficult to distinguish from pure honey.^[32]

According to the Codex Alimentarius of the United Nations, any product labeled as “honey” or “pure honey” must be a wholly natural product, although labeling laws differ between countries.^[33] In the United States, according to the National Honey Board, “Ensuring honey authenticity is one of the great challenges facing the honey industry today. Over the past half century, a number of honey testing methods have been developed to detect food fraud. To date, there is no single universal analytical method available which is capable of detecting all types of adulteration with adequate sensitivity.”^[34]

Isotope ratio mass spectrometry can be used to detect addition of corn syrup and cane sugar by the carbon isotopic signature. Addition of sugars originating from corn or sugar cane (C4 plants, unlike the plants used by bees, and also sugar beet, which are predominantly C3 plants) skews the isotopic ratio of sugars present in honey,^[34] but does not influence the isotopic ratio of proteins. In an unadulterated honey, the carbon isotopic ratios of sugars and proteins should match. Levels as low as 7% of addition can be detected.^[34]

Worldwide production

Country	Production (tonnes)
China	458,100
Turkey	104,077
Iran	79,955
Argentina	74,403
Ukraine	68,028
United States	66,948
World	1,770,119
Source: FAOSTAT[35]

In 2020, global production of honey was 1.8 million tonnes, led by China with 26% of the world total (table).^[35] Other major producers were Turkey, Iran, Argentina, and Ukraine.^[35]

Modern uses

Food

Main article: Mellivory

Over its history as a food,^[10] the main uses of honey are in cooking, baking, desserts, as a spread on bread, as an addition to various beverages such as tea, and as a sweetener in some commercial beverages.^[36]

Due to its energy density, honey is an important food for virtually all hunter-gatherer cultures in warm climates, with the Hadza people ranking honey as their favorite food.^[37] Honey hunters in Africa have a mutualistic relationship with certain species of honeyguide birds.^[38]

Fermentation

Possibly the world’s oldest fermented beverage, dating from 9,000 years ago,^[39] mead (“honey wine”) is the alcoholic product made by adding yeast to honey-water must and fermenting it for weeks or months.^[40][41] The yeast Saccharomyces cerevisiae is commonly used in modern mead production.^[40][41]

Mead varieties include drinks called metheglin (with spices or herbs), melomel (with fruit juices, such as grape, specifically called pyment), hippocras (with cinnamon), and sack mead (high concentration of honey),^[41] many of which have been developed as commercial products numbering in the hundreds in the United States.^[42] Honey is also used to make mead beer, called “braggot”.^[43]

Physical and chemical properties

The physical properties of honey vary, depending on water content, the type of flora used to produce it (pasturage), temperature, and the proportion of the specific sugars it contains. Fresh honey is a supersaturated liquid, containing more sugar than the water can typically dissolve at ambient temperatures. At room temperature, honey is a supercooled liquid, in which the glucose precipitates into solid granules. This forms a semisolid solution of precipitated glucose crystals in a solution of fructose and other ingredients.^{[citation needed]}

The density of honey typically ranges between 1.38 and 1.45 kg/L at 20 °C.^[44]

Phase transitions

The melting point of crystallized honey is between 40 and 50 °C (104 and 122 °F), depending on its composition. Below this temperature, honey can be either in a metastable state, meaning that it will not crystallize until a seed crystal is added, or, more often, it is in a “labile” state, being saturated with enough sugars to crystallize spontaneously.^[45] The rate of crystallization is affected by many factors, but the primary factor is the ratio of the main sugars: fructose to glucose. Honeys that are supersaturated with a very high percentage of glucose, such as brassica honey, crystallize almost immediately after harvesting, while honeys with a low percentage of glucose, such as chestnut or tupelo honey, do not crystallize. Some types of honey may produce few but very large crystals, while others produce many small crystals.^[46]

Crystallization is also affected by water content, because a high percentage of water inhibits crystallization, as does a high dextrin content. Temperature also affects the rate of crystallization, with the fastest growth occurring between 13 and 17 °C (55 and 63 °F). Crystal nuclei (seeds) tend to form more readily if the honey is disturbed, by stirring, shaking, or agitating, rather than if left at rest. However, the nucleation of microscopic seed-crystals is greatest between 5 and 8 °C (41 and 46 °F). Therefore, larger but fewer crystals tend to form at higher temperatures, while smaller but more-numerous crystals usually form at lower temperatures. Below 5 °C, the honey will not crystallize, thus the original texture and flavor can be preserved indefinitely.^[46]

Honey is a supercooled liquid when stored below its melting point, as is normal. At very low temperatures, honey does not freeze solid; rather its viscosity increases. Like most viscous liquids, the honey becomes thick and sluggish with decreasing temperature. At −20 °C (−4 °F), honey may appear or even feel solid, but it continues to flow at very low rates. Honey has a glass transition between −42 and −51 °C (−44 and −60 °F). Below this temperature, honey enters a glassy state and becomes an amorphous solid (noncrystalline).^[47][48]

Rheology

The viscosity of honey is affected greatly by both temperature and water content. The higher the water percentage, the more easily honey flows. Above its melting point, however, water has little effect on viscosity. Aside from water content, the composition of most types of honey also has little effect on viscosity. At 25 °C (77 °F), honey with 14% water content generally has a viscosity around 400 poise, while a honey containing 20% water has a viscosity around 20 poise. Viscosity increases very slowly with moderate cooling; a honey containing 16% water, at 70 °C (158 °F), has a viscosity around 2 poise, while at 30 °C (86 °F), the viscosity is around 70 poise. With further cooling, the increase in viscosity is more rapid, reaching 600 poise at around 14 °C (57 °F).^[51][52] However, while honey is viscous, it has low surface tension of 50–60 mJ/m², making its wettability similar to water, glycerin, or most other liquids.^[53] The high viscosity and wettability of honey cause stickiness, which is a time-dependent process in supercooled liquids between the glass-transition temperature (T_g) and the crystalline-melting temperature.^[54]

Most types of honey are Newtonian liquids, but a few types have non-Newtonian viscous properties. Honeys from heather or mānuka display thixotropic properties. These types of honey enter a gel-like state when motionless, but liquefy when stirred.^[55]

Electrical and optical properties

Because honey contains electrolytes, in the form of acids and minerals, it exhibits varying degrees of electrical conductivity. Measurements of the electrical conductivity are used to determine the quality of honey in terms of ash content.^[52]

The effect honey has on light is useful for determining the type and quality. Variations in its water content alter its refractive index. Water content can easily be measured with a refractometer. Typically, the refractive index for honey ranges from 1.504 at 13% water content to 1.474 at 25%. Honey also has an effect on polarized light, in that it rotates the polarization plane. The fructose gives a negative rotation, while the glucose gives a positive one. The overall rotation can be used to measure the ratio of the mixture.^[52][31] Honey is generally pale yellow and dark brown in color,^{[citation needed]} but other colors can occur, depending on the sugar source.^[56] Bee colonies that forage on Kudzu (Pueraria montana var. lobata) flowers, for example, produce honey that varies in color from red to purple.^{[57][better source needed]}

Hygroscopy and fermentation

Honey has the ability to absorb moisture directly from the air, a phenomenon called hygroscopy. The amount of water the honey absorbs is dependent on the relative humidity of the air. Because honey contains yeast, this hygroscopic nature requires that honey be stored in sealed containers to prevent fermentation, which usually begins if the honey’s water content rises much above 25%. Honey tends to absorb more water in this manner than the individual sugars allow on their own, which may be due to other ingredients it contains.^[31]

Fermentation of honey usually occurs after crystallization, because without the glucose, the liquid portion of the honey primarily consists of a concentrated mixture of fructose, acids, and water, providing the yeast with enough of an increase in the water percentage for growth. Honey that is to be stored at room temperature for long periods of time is often pasteurized, to kill any yeast, by heating it above 70 °C (158 °F).^[31]

Thermal characteristics

Like all sugar compounds, honey caramelizes if heated sufficiently, becoming darker in color, and eventually burns. However, honey contains fructose, which caramelizes at lower temperatures than glucose.^[58] The temperature at which caramelization begins varies, depending on the composition, but is typically between 70 and 110 °C (158 and 230 °F). Honey also contains acids, which act as catalysts for caramelization. The specific types of acids and their amounts play a primary role in determining the exact temperature.^[59] Of these acids, the amino acids, which occur in very small amounts, play an important role in the darkening of honey. The amino acids form darkened compounds called melanoidins, during a Maillard reaction. The Maillard reaction occurs slowly at room temperature, taking from a few to several months to show visible darkening, but speeds up dramatically with increasing temperatures. However, the reaction can also be slowed by storing the honey at colder temperatures.^[60]

Unlike many other liquids, honey has very poor thermal conductivity of 0.5 W/(m⋅K) at 13% water content (compared to 401 W/(m⋅K) of copper), taking a long time to reach thermal equilibrium.^[61] Due to its high kinematic viscosity honey does not transfer heat through momentum diffusion (convection) but rather through thermal diffusion (more like a solid), so melting crystallized honey can easily result in localized caramelization if the heat source is too hot or not evenly distributed. However, honey takes substantially longer to liquefy when just above the melting point than at elevated temperatures.^[52] Melting 20 kg (44 lb) of crystallized honey at 40 °C (104 °F) can take up to 24 hours, while 50 kg (110 lb) may take twice as long. These times can be cut nearly in half by heating at 50 °C (122 °F); however, many of the minor substances in honey can be affected greatly by heating, changing the flavor, aroma, or other properties, so heating is usually done at the lowest temperature and for the shortest time possible.^[62]

Acid content and flavor effects

The average pH of honey is 3.9, but can range from 3.4 to 6.1.^[63] Honey contains many kinds of acids, both organic and amino. However, the different types and their amounts vary considerably, depending on the type of honey. These acids may be aromatic or aliphatic (nonaromatic). The aliphatic acids contribute greatly to the flavor of honey by interacting with the flavors of other ingredients.^[63]

Organic acids comprise most of the acids in honey, accounting for 0.17–1.17% of the mixture, with gluconic acid formed by the actions of glucose oxidase as the most prevalent.^[63] Minor amounts of other organic acids are present, consisting of formic, acetic, butyric, citric, lactic, malic, pyroglutamic, propionic, valeric, capronic, palmitic, and succinic, among many others.^[63][64]

Volatile organic compounds

Individual honeys from different plant sources contain over 100 volatile organic compounds (VOCs), which play a primary role in determining honey flavors and aromas.^[65][66][67] VOCs are carbon-based compounds that readily vaporize into the air, providing aroma, including the scents of flowers, essential oils, or ripening fruit.^[65][67] The typical chemical families of VOCs found in honey include hydrocarbons, aldehydes, alcohols, ketones, esters, acids, benzenes, furans, pyrans, norisoprenoids, and terpenes, among many others and their derivatives.^[65][67] The specific VOCs and their amounts vary considerably between different types of honey obtained by bees foraging on different plant sources.^[65][66][67] By example, when comparing the mixture of VOCs in different honeys in one review, longan honey had a higher amount of volatiles (48 VOCs), while sunflower honey had the lowest number of volatiles (8 VOCs).^[65]

VOCs are primarily introduced into the honey from the nectar, where they are excreted by the flowers imparting individual scents.^[65] The specific types and concentrations of certain VOCs can be used to determine the type of flora used to produce monofloral honeys.^[65][67] The specific geography, soil composition and acidity used to grow the flora also have an effect on honey aroma properties,^[66] such as a “fruity” or “grassy” aroma from longan honey, or a “waxy” aroma from sunflower honey.^[65] Dominant VOCs in one study were linalool oxide, trans-linalool oxide, 2-phenylacetaldehyde, benzyl ethanol, isophorone, and methyl nonanoate.^[65]

VOCs can also be introduced from the bodies of the bees, be produced by the enzymatic actions of digestion, or from chemical reactions that occur between different substances within the honey during storage, and therefore may change, increase, or decrease over long periods of time.^[65][66] VOCs may be produced, altered, or greatly affected by temperature and processing.^[66] Some VOCs are heat labile, and are destroyed at elevated temperatures, while others can be created during non-enzymatic reactions, such as the Maillard reaction.^[67] VOCs are responsible for nearly all of the aroma produced by a honey, which may be described as “sweet”, “flowery”, “citrus”, “almond” or “rancid”, among other terms.^[65] In addition, VOCs play a large role in determining the specific flavor of the honey, both through the aromas and flavor.^[65] VOCs from honeys in different geographic regions can be used as floral markers of those regions, and as markers of the bees that foraged the nectars.^[65][66]

Classification

Honey is classified by its source (floral or not), and divisions are made according to the packaging and processing used. Regional honeys are also identified. In the US, honey is also graded on its color and optical density by USDA standards, graded on the Pfund scale, which ranges from 0 for “water white” honey to more than 114 for “dark amber” honey.^[68]

Plant source

Generally, honey is classified by the floral source of the nectar from which it was made. Honeys can be from specific types of flower nectars or can be blended after collection. The pollen in honey is traceable to floral source and therefore region of origin. The rheological and melissopalynological properties of honey can be used to identify the major plant nectar source used in its production.^[69]

Monofloral

Monofloral honey is made primarily from the nectar of one type of flower. Monofloral honeys have distinctive flavors and colors because of differences between their principal nectar sources.^[70] To produce monofloral honey, beekeepers keep beehives in an area where the bees have access, as far as possible, to only one type of flower. In practice, a small proportion of any monofloral honey will be from other flower types. Typical examples of North American monofloral honeys are clover, orange blossom, sage, tupelo, buckwheat, fireweed, mesquite, sourwood,^[71] cherry, and blueberry. Some typical European examples include thyme, thistle, heather, acacia, dandelion, sunflower, lavender, honeysuckle, and varieties from lime and chestnut trees.^{[citation needed]} In North Africa (e.g. Egypt), examples include clover, cotton, and citrus (mainly orange blossoms).^{[citation needed]} The unique flora of Australia yields a number of distinctive honeys, with some of the most popular being yellow box, blue gum, ironbark, bush mallee, Tasmanian leatherwood, and macadamia.

Polyfloral

Polyfloral honey, also known as wildflower honey,^[72] is derived from the nectar of many types of flowers.^[70][73] The taste may vary from year to year, and the aroma and the flavor can be more or less intense, depending on which flowers are blooming.^[70]

Honeydew honey

Honeydew honey is made from bees taking direct secretions from trees such as pine, fir, chestnut, and oak or primarily honeydew, the sweet secretions of aphids or other plant-sap-sucking insects, to produce honey rather than from nectar.^[74][75] This honey has a much larger proportion of indigestibles than light floral honeys, thus causing dysentery to the bees.^[76] Honeydew honey has a stronger and less sweet flavor than nectar-based honey, and European countries have been the primary market for honeydew honey.^[74] In Greece, pine honey, a type of honeydew honey, constitutes 60–65% of honey production.^[77]

Classification by packaging and processing

Generally, honey is bottled in its familiar liquid form, but it is sold in other forms, and can be subjected to a variety of processing methods.

• Crystallized honey occurs when some of the glucose content has spontaneously crystallized from solution as the monohydrate. It is also called “granulated honey” or “candied honey”. Honey that has crystallized (or is commercially purchased crystallized) can be returned to a liquid state by warming.^[78] Despite a common misconception, honey crystallizing does not mean it has expired.^[79][80]
• Pasteurized honey has been heated in a pasteurization process which requires temperatures of 72 °C (161 °F) or higher. Pasteurization destroys yeast cells. It also liquefies any microcrystals in the honey, which delays the onset of visible crystallization. However, excessive heat exposure also results in product deterioration, as it increases the level of hydroxymethylfurfural (HMF)^{[citation needed]} and reduces enzyme (e.g. diastase) activity. Heat also darkens the honey, and affects taste and fragrance.^[81]
• Raw honey is as it exists in the beehive or as obtained by extraction, settling, or straining, without adding heat (although some honey that has been “minimally processed” is often labeled as raw honey).^[82] Raw honey contains some pollen and may contain small particles of wax.
• Strained honey has been passed through a mesh material to remove particulate material^[83] (pieces of wax, propolis, other defects) without removing pollen, minerals, or enzymes.
• Filtered honey of any type has been filtered to the extent that all or most of the fine particles, pollen grains, air bubbles, or other materials normally found in suspension, have been removed.^[84] The process typically heats honey to 66–77 °C (150–170 °F) to more easily pass through the filter.^[85] Filtered honey is very clear and will not crystallize as quickly,^[85] making it preferred by supermarkets.^[86] The most common method involves the addition of diatomaceous earth to honey that is heated to 60 °C (140 °F) and passed through filter paper or canvas until a cake of diatomaceous earth builds up on the filter.^[71]
• Ultrasonicated honey has been processed by ultrasonication, a nonthermal processing alternative for honey. When honey is exposed to ultrasonication, most of the yeast cells are destroyed. Those cells that survive sonication generally lose their ability to grow, which reduces the rate of honey fermentation substantially. Ultrasonication also eliminates existing crystals and inhibits further crystallization in honey. Ultrasonically aided liquefaction can work at substantially lower temperatures around 35 °C (95 °F) and can reduce liquefaction time to less than 30 seconds.^[87]
• Creamed honey, also called whipped honey, spun honey, churned honey, honey fondant, and, in the UK, set honey, has been processed to control crystallization. Creamed honey contains a large number of small crystals, which prevent the formation of larger crystals that can occur in unprocessed honey. The processing also produces a honey with a smooth, spreadable consistency.^[88]
• Dried honey has the moisture extracted from liquid honey to create completely solid, nonsticky granules. This process may or may not include the use of drying and anticaking agents.^[89] Dried honey is used in baked goods,^[89] and to garnish desserts.^[90]
• Comb honey is still in the honey bees’ wax comb. It is traditionally collected using standard wooden frames in honey supers. The frames are collected and the comb is cut out in chunks before packaging. As an alternative to this labor-intensive method, plastic rings or cartridges can be used that do not require manual cutting of the comb, and speed packaging. Comb honey harvested in the traditional manner is also referred to as “cut-comb honey”.^{[78]: 13 [91]}
• Chunk honey is packed in wide-mouthed containers; it consists of one or more pieces of comb honey immersed in extracted liquid honey.^[78]: 13
• Honey decoctions are made from honey or honey byproducts which have been dissolved in water, then reduced (usually by means of boiling). Other ingredients may then be added. (For example, abbamele has added citrus.) The resulting product may be similar to molasses.
• Baker’s honey is outside the normal specification for honey, due to a “foreign” taste or odor, or because it has begun to ferment or has been overheated. It is generally used as an ingredient in food processing. Additional requirements exist for labeling baker’s honey, including that it may not be sold labeled simply as “honey”.^[92]

Grading

See also: Food grading

Countries have differing standards for grading honey. In the US, honey grading is performed voluntarily based upon USDA standards. USDA offers inspection and grading “as on-line (in-plant) or lot inspection…upon application, on a fee-for-service basis.” Honey is graded based upon a number of factors, including water content, flavor and aroma, absence of defects, and clarity. Honey is also classified by color, though it is not a factor in the grading scale.^[93]

The USDA honey grade scale is:

Grade	Soluble solids	Flavor and aroma	Absence of defects	Clarity
A	≥ 81.4%	Good—”has a good, normal flavor and aroma for the predominant floral source or, when blended, a good flavor for the blend of floral sources and the honey is free from caramelized flavor or objectionable flavor caused by fermentation, smoke, chemicals, or other causes with the exception of the predominant floral source”	Practically free—”contains practically no defects that affect the appearance or edibility of the product”	Clear—”may contain air bubbles which do not materially affect the appearance of the product and may contain a trace of pollen grains or other finely divided particles of suspended material which do not affect the appearance of the product”
B	≥ 81.4%	Reasonably good—”has a reasonably good, normal flavor and aroma for the predominant floral source or, when blended, a reasonably good flavor for the blend of floral sources and the honey is practically free from caramelized flavor and is free from objectionable flavor caused by fermentation, smoke, chemicals, or other causes with the exception of the predominant floral source”	Reasonably free—”may contain defects which do not materially affect the appearance or edibility of the product”	Reasonably clear—”may contain air bubbles, pollen grains, or other finely divided particles of suspended material which do not materially affect the appearance of the product”
C	≥ 80.0%	Fairly good—”has a fairly good, normal flavor and aroma for the predominant floral source or, when blended, a fairly good flavor for the blend of floral sources and the honey is reasonably free from caramelized flavor and is free from objectionable flavor caused by fermentation, smoke, chemicals, or other causes with the exception of the predominant floral source”	Fairly free—”may contain defects which do not seriously affect the appearance or edibility of the product”	Fairly clear—”may contain air bubbles, pollen grains, or other finely divided particles of suspended material which do not seriously affect the appearance of the product”
Substandard	Fails Grade C	Fails Grade C	Fails Grade C	Fails Grade C

India certifies honey grades based on additional factors, such as the Fiehe’s test, and other empirical measurements.^[94]

Indicators of quality

High-quality honey can be distinguished by fragrance, taste, and consistency. Ripe, freshly collected, high-quality honey at 20 °C (68 °F) should flow from a knife in a straight stream, without breaking into separate drops.^[95] After falling down, the honey should form a bead. The honey, when poured, should form small, temporary layers that disappear fairly quickly, indicating high viscosity. If not, it indicates honey with excessive water content of over 20%,^[95] not suitable for long-term preservation.^[96]

In jars, fresh honey should appear as a pure, consistent fluid, and should not set in layers. Within a few weeks to a few months of extraction, many varieties of honey crystallize into a cream-colored solid. Some varieties of honey, including tupelo, acacia, and sage, crystallize less regularly. Honey may be heated during bottling at temperatures of 40–49 °C (104–120 °F) to delay or inhibit crystallization. Overheating is indicated by change in enzyme levels, for instance, diastase activity, which can be determined with the Schade or the Phadebas methods. A fluffy film on the surface of the honey (like a white foam), or marble-colored or white-spotted crystallization on a container’s sides, is formed by air bubbles trapped during the bottling process.

A 2008 Italian study determined that nuclear magnetic resonance spectroscopy can be used to distinguish between different honey types, and can be used to pinpoint the area where it was produced. Researchers were able to identify differences in acacia and polyfloral honeys by the differing proportions of fructose and sucrose, as well as differing levels of aromatic amino acids phenylalanine and tyrosine. This ability allows greater ease of selecting compatible stocks.^[97]

Nutrition

Nutritional value per 100 g (3.5 oz)
Energy	1,272 kJ (304 kcal)
Carbohydrates	82.4 g
Sugars	82.12 g
Dietary fiber	0.2 g
Fat	0 g
Protein	0.3 g
showVitamins and minerals
Other constituents	Quantity
Water	17.10 g
Full Link to USDA Database entry
†Percentages estimated using US recommendations for adults,[98] except for potassium, which is estimated based on expert recommendation from the National Academies.[99]

One hundred grams of honey provides about 1,270 kJ (304 kcal) of energy with no significant amounts of essential nutrients.^[7] Composed of 17% water and 82% carbohydrates, honey has low content of fat, dietary fiber, and protein.

Sugar profile

A mixture of sugars and other carbohydrates, honey is mainly fructose (about 38%) and glucose (about 32%),^[5] with remaining sugars including maltose, sucrose, and other complex carbohydrates.^[5] Its glycemic index ranges from 31 to 78, depending on the variety.^[100] The specific composition, color, aroma, and flavor of any batch of honey depend on the flowers foraged by bees that produced the honey.^[10]

One 1980 study found that mixed floral honey from several United States regions typically contains the following:^[101]

• Fructose: 38.2%
• Glucose: 31.3%
• Maltose: 7.1%
• Sucrose: 1.3%
• Water: 17.2%
• Higher sugars: 1.5%
• Ash: 0.2%
• Other/undetermined: 3.2%

This means that 55% of the combined fructose and glucose content was fructose and 45% was glucose, which enables comparison with the essentially identical result (average of 56% and 44%) in the study described below:

A 2013 NMR spectroscopy study of 20 different honeys from Germany found that their sugar contents comprised:

• Fructose: 28% to 41%
• Glucose: 22% to 35%

The average ratio was 56% fructose to 44% glucose, but the ratios in the individual honeys ranged from a high of 64% fructose and 36% glucose (one type of flower honey; table 3 in reference) to a low of 50% fructose and 50% glucose (a different floral source). This NMR method was not able to quantify maltose, galactose, and the other minor sugars as compared to fructose and glucose.^[102]

Medical use and research

See also: Apitherapy

Wounds and burns

Honey is a folk treatment for burns and other skin injuries. Preliminary evidence suggests that it aids in the healing of partial thickness burns 4–5 days faster than other dressings, and moderate evidence suggests that post-operative infections treated with honey heal faster and with fewer adverse events than with antiseptic and gauze.^[103] The evidence for the use of honey in various other wound treatments is of low quality, and firm conclusions cannot be drawn.^[103][104] Evidence does not support the use of honey-based products for the treatment of venous stasis ulcers or ingrown toenail.^[105][106] Several medical-grade honey products have been approved by the US Food and Drug Administration for use in treating minor wounds and burns.^[107]

Antibiotic

Honey has long been used as a topical antibiotic by practitioners of traditional and herbal medicine.^[108][109] Honey’s antibacterial effects were first demonstrated by the Dutch scientist Bernardus Adrianus van Ketel in 1892.^[110][111] Since then, numerous studies have shown that honey has broad-spectrum antibacterial activity against gram-positive and gram-negative bacteria, although potency varies widely between different honeys.^{[107][111][112][113]} Due to the proliferation of antibiotic-resistant bacteria in the last few decades, there has been renewed interest in researching the antibacterial properties of honey.^[109] Components of honey under preliminary research for potential antibiotic use include methylglyoxal, hydrogen peroxide, and royalisin (also called defensin-1).^[114][115]

Cough

For chronic and acute coughs, a Cochrane review found no strong evidence for or against the use of honey.^[116][117] For treating children, the systematic review concluded with moderate to low evidence that honey helps more than no treatment, diphenhydramine, and placebo at giving relief from coughing.^[117] Honey does not appear to work better than dextromethorphan at relieving coughing in children.^[117] Other reviews have also supported the use of honey for treating children.^[118][119]

The UK Medicines and Healthcare products Regulatory Agency recommends avoiding giving over-the-counter cough and common cold medication to children under six, and suggests “a homemade remedy containing honey and lemon is likely to be just as useful and safer to take”, but warns that honey should not be given to babies because of the risk of infant botulism.^[120] The World Health Organization recommends honey as a treatment for coughs and sore throats, including for children, stating that no reason exists to believe it is less effective than a commercial remedy.^[121]

Other

The use of honey has been recommended as a temporary intervention for known or suspected button cell battery ingestions to reduce the risk and severity of injury to the esophagus caused by the battery prior to its removal.^{[122][123][124]}

There is no evidence that honey is beneficial for treating cancer,^[125] although honey may be useful for controlling side effects of radiation therapy or chemotherapy used to treat cancer.^[126]

Consumption is sometimes advocated as a treatment for seasonal allergies due to pollen, but scientific evidence to support the claim is inconclusive.^[125] Honey is generally considered ineffective for the treatment of allergic conjunctivitis.^[125][127]

The majority of calories in honey are from fructose. When consumed in addition to a normal diet, fructose causes significant weight gain, but when fructose was substituted for other carbohydrates of equal energy value there was no effect on body weight.^[128]

Honey has a mild laxative effect which has been noted as being helpful in alleviating constipation and bloating.^[129]

Health hazards

Honey is generally safe when taken in typical food amounts,^[118][125] but it may have various, potential adverse effects or interactions in combination with excessive consumption, existing disease conditions, or drugs.^[125] Included among these are mild reactions to high intake, such as anxiety, insomnia, or hyperactivity in about 10% of children, according to one study.^[118] No symptoms of anxiety, insomnia, or hyperactivity were detected with honey consumption compared to placebo, according to another study.^[118] Honey consumption may interact adversely with existing allergies, high blood sugar levels (as in diabetes), or anticoagulants used to control bleeding, among other clinical conditions.^[125]

People who have a weakened immune system may be at risk of bacterial or fungal infection from eating honey.^[130]

Botulism

Infants can develop botulism after consuming honey contaminated with Clostridium botulinum endospores.^[131]

Infantile botulism shows geographical variation. In the UK, only six cases were reported between 1976 and 2006,^[132] yet the US has much higher rates: 1.9 per 100,000 live births, 47.2% of which are in California.^[133] While the risk honey poses to infant health is small, taking the risk is not recommended until after one year of age, and then giving honey is considered safe.^[134]

Toxic honey

Main articles: Mad honey and Bees and toxic chemicals § Toxic honey

Mad honey intoxication is a result of eating honey containing grayanotoxins.^[135] Honey produced from flowers of rhododendrons, mountain laurels, sheep laurel, and azaleas may cause honey intoxication. Symptoms include dizziness, weakness, excessive perspiration, nausea, and vomiting. Less commonly, low blood pressure, shock, heart rhythm irregularities, and convulsions may occur, with rare cases resulting in death. According to the FDA, honey intoxication is more likely when using “natural” unprocessed honey from farmers who may have a small number of hives because commercial processing, which pools of honey from numerous sources, dilutes the toxins.^[136]

Toxic honey may also result when bees are proximate to tutu bushes (Coriaria arborea) and the vine hopper insect (Scolypopa australis). Both are found throughout New Zealand. Bees gather honeydew produced by the vine hopper insects feeding on the tutu plant. This introduces the poison tutin into honey.^[137] Only a few areas in New Zealand (the Coromandel Peninsula, Eastern Bay of Plenty Region and the Marlborough Sounds) frequently produce toxic honey. Symptoms of tutin poisoning include vomiting, delirium, giddiness, increased excitability, stupor, coma, and violent convulsions.^[138] To reduce the risk of tutin poisoning, humans should not eat honey taken from feral hives in the risk areas of New Zealand. Since December 2001, New Zealand beekeepers have been required to reduce the risk of producing toxic honey by closely monitoring tutu, vine hopper, and foraging conditions within 3 km (2 mi) of their apiary.^{[citation needed]} Intoxication is rarely dangerous.^[135]

Folk medicine

In myths and folk medicine, honey was used both orally and topically to treat various ailments including gastric disturbances, ulcers, skin wounds, and skin burns by ancient Greeks and Egyptians, and in Ayurveda and traditional Chinese medicine.^[139]

History

Honey collection is an ancient activity,^[11] long preceding the honey bee’s domestication; this traditional practice is known as honey hunting. A Mesolithic rock painting in a cave in Valencia, Spain, dating back at least 8,000 years, depicts two honey foragers collecting honey and honeycomb from a wild bees’ nest. The figures are depicted carrying baskets or gourds, and using a ladder or series of ropes to reach the nest.^[11] Humans followed the greater honeyguide bird to wild beehives;^[140] this behavior may have evolved with early hominids.^[141][142] The oldest known honey remains were found in Georgia during the construction of the Baku–Tbilisi–Ceyhan pipeline: archaeologists found honey remains on the inner surface of clay vessels unearthed in an ancient tomb, dating back between 4,700 and 5,500 years.^{[143][144][145]} In ancient Georgia, several types of honey were buried with a person for journeys into the afterlife, including linden, berry, and meadow-flower varieties.^[146]

The first written records of beekeeping are from ancient Egypt^[when?], where honey was used to sweeten cakes, biscuits, and other foods and as a base for unguents in Egyptian hieroglyphs. The dead were often buried in or with honey in Egypt, Mesopotamia and other regions. Bees were kept at temples to produce honey for temple offerings, mummification and other uses.^[147]

In ancient Greece, honey was produced from the Archaic to the Hellenistic periods. In 594 BCE,^[148] beekeeping around Athens was so widespread that Solon passed a law about it: “He who sets up hives of bees must put them 300 feet [90 metres] away from those already installed by another”.^[149][4] Greek archaeological excavations of pottery located ancient hives.^[150] According to Columella, Greek beekeepers of the Hellenistic period did not hesitate to move their hives over rather long distances to maximize production, taking advantage of the different vegetative cycles in different regions.^[150] The spiritual and supposed therapeutic use of honey in ancient India was documented in both the Vedas and the Ayurveda texts.^[139]

Religious significance

In ancient Greek religion, the food of Zeus and the twelve Gods of Olympus was honey in the form of nectar and ambrosia.^[151]

In the Hebrew Bible, the Promised Land (Canaan, the Land of Israel) is described 16 times as “the land of milk and honey“^[152] as a metaphor for its bounty. Of the 55 times the word “honey” appears in the Hebrew Bible, 16 are part of the expression “the land of milk and honey”, and only twice is “honey” explicitly associated with bees, both being related to wild bees.^[152] Modern biblical researchers long considered that the original Hebrew word used in the Bible, (דבש, devash), refers to the sweet syrup produced from figs or dates, because the domestication of the honey bee was completely undocumented through archaeology anywhere in the ancient Near East (excluding Egypt) at the time associated with the earlier biblical narratives^[152] (books of Exodus, Judges, Kings, etc.). In 2005, however, an apiary dating from the 10th century BC was found in Tel Rehov, Israel that contained 100 hives, estimated to produce half a ton of honey annually.^[153][152] This was, as of 2007, the only such finding made by archaeologists in the entire ancient Near East region, and it opens the possibility that biblical honey was indeed bee honey.^[152]

In Jewish tradition, honey is a symbol for the new year, Rosh Hashanah. At the traditional meal for that holiday, apple slices are dipped in honey and eaten to bring a sweet new year. Some Rosh Hashanah greetings show honey and an apple, symbolizing the feast. In some congregations, small straws of honey are given out to usher in the new year.^[154] Pure honey is considered kosher (permitted to be eaten by religious Jews), though it is produced by a flying insect, a non-kosher creature; eating other products of non-kosher animals is forbidden.^[155] It belongs among the parve (neutral) foods, containing neither meat nor dairy products and allowed to be eaten together with either.

Early Christians used honey as a symbol of spiritual perfection in christening ceremonies.^[147]

In Islam, an entire chapter (Surah) in the Quran is called an-Nahl (the Bees). According to his teachings (hadith), Muhammad strongly recommended honey for healing purposes.The Quran promotes honey as a nutritious and healthy food, saying:

And thy Lord taught the Bee to build its cells in hills, on trees, and in (men’s) habitations; Then to eat of all the produce (of the earth), and find with skill the spacious paths of its Lord: there issues from within their bodies a drink of varying colours, wherein is healing for men: verily in this is a Sign for those who give thought.^[156][157]

In Hinduism, honey (Madhu) is one of the five elixirs of life (Panchamrita). In temples, honey is poured over the deities in a ritual called Madhu abhisheka. The Vedas and other ancient literature mention the use of honey as a great medicinal and health food.^[158]

In Buddhism, honey plays an important role in the festival of Madhu Purnima, celebrated in India and Bangladesh. The day commemorates Buddha’s making peace among his disciples by retreating into the wilderness. According to legend, while he was there a monkey brought him honey to eat. On Madhu Purnima, Buddhists remember this act by giving honey to monks. The monkey’s gift is frequently depicted in Buddhist art