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used in Anna Karenina

21 uses
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a musical play with orchestra in which most dialogue is sung — (typically associated with classical music and often in a language foreign to the audience)


the art form (or describing something as related to it) that consists of musical plays with orchestra in which most dialogue is sung
  • But come after the opera.
    Part Two (9% in)
  • "Excuse me," he added, taking an opera glass out of her hand, and proceeding to scrutinize, over her bare shoulder, the row of boxes facing them.
    Part Two (10% in)
  • But the position of a man pursuing a married woman, and, regardless of everything, staking his life on drawing her into adultery, has something fine and grand about it, and can never be ridiculous; and so it was with a proud and gay smile under his mustaches that he lowered the opera glass and looked at his cousin.
    Part Two (10% in)
  • "Please don't talk to me about the opera; you know nothing about music.
    Part Two (15% in)
  • From the opera bouffe.
    Part Two (16% in)
  • I know it's disgraceful, but I go to sleep at the opera, and I sit out the opera bouffe to the last minute, and enjoy it.
    Part Two (16% in)
  • I know it's disgraceful, but I go to sleep at the opera, and I sit out the opera bouffe to the last minute, and enjoy it.
    Part Two (16% in)
  • "And we should all go to see them if it were accepted as the correct thing, like the opera," chimed in Princess Myakaya.
    Part Two (16% in)
  • Every eye, every opera glass, was turned on the brightly colored group of riders at the moment they were in line to start.
    Part Two (67% in)
  • Anna said nothing, and keeping her opera glass up, gazed always at the same spot.
    Part Two (78% in)
  • Without answering her husband, Anna lifted her opera glass and gazed towards the place where Vronsky had fallen; but it was so far off, and there was such a crowd of people about it, that she could make out nothing.
    Part Two (79% in)
  • She laid down the opera glass, and would have moved away, but at that moment an officer galloped up and made some announcement to the Tsar.
    Part Two (79% in)
  • Vronsky saw him without looking round get into the carriage, pick up the rug and the opera-glass at the window and disappear.
    Part Four (4% in)
  • Alexey Alexandrovitch, after meeting Vronsky on his own steps, drove, as he had intended, to the Italian opera.
    Part Four (11% in)
  • When they got up from dinner and Tushkevitch had gone to get a box at the opera, Yashvin went to smoke, and Vronsky went down with him to his own rooms.
    Part Five (94% in)
  • "Yes, it was like going back home when I put on a black coat," answered Vronsky, smiling and slowly taking out his opera glass.
    Part Five (97% in)
  • Vronsky, listening with one ear, moved his opera glass from the stalls and scanned the boxes.
    Part Five (97% in)
  • Near a lady in a turban and a bald old man, who seemed to wave angrily in the moving opera glass, Vronsky suddenly caught sight of Anna's head, proud, strikingly beautiful, and smiling in the frame of lace.
    Part Five (97% in)
  • When Vronsky turned the opera glass again in that direction, he noticed that Princess Varvara was particularly red, and kept laughing unnaturally and looking round at the next box.
    Part Five (97% in)
  • Were you at the opera yesterday?
    Part Seven (17% in)
  • The colonel too talked of the opera, and about culture.
    Part Seven (17% in)

There are no more uses of "opera" in Anna Karenina.

Typical Usage  (best examples)
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