The author focuses on the kind of Italian found in opera libretti which, he claims, is all-too-often convoluted, elliptical, and couched in archaic language. Starting with nouns, Thomson works his way through the seven other parts of speech. There are explanations with examples of such things as "atmospheric adjectives";, nuances in exclamations, the structure of datives of advantage, reflexives, subjunctives, etc. This book purports to deal systematically with Italian grammar and proceed from the simple to the very complex. It also claims to cater to various learning styles and to encourage readers to think in Italian.

"Operatic Italian"; contains several hundred extracts from operas, word-for-word (interlinear) translations, extensive use of IPA (chapter two deals with the phonetics and stress of Italian), music with stafflines (80). Zingarelli is quoted extensively, in Italian and English. There are 14 quizzes (with keys) interspersed throughout and chapters on such topics as idioms, problems encountered in translation, suggested criteria for evaluating libretto writing, operatic aspects of the canzone, and a final chapter on Dante's influence on composers and librettists.

In addition to dealing with operatic language per se the author has attempted to alert the reader to many other related subjects, e.g., autobiographical facts and movies. The bibliography contains references to both books and Internet sites. Joanne Hounsell (Victoria Conservatory of Music) wrote the intro.