Opera u povijesnoj ropotarnici?

Throughout the centuries, the changes in the world of opera happened gradually, and only the insightful critics recognized the progress in aesthetics and style. Their written observations help the reconstruction of a time, and of the complex social circumstances and musical-stage-interpretative levels. The established conventions are applicable mostly to operas performed in the last 200 years, and include recitatives and arias that are the backbone of the most popular operas in the last century. Opera, as a unique combination of music and drama, has always presupposed a tolerant audience - one that wasn\u27t disturbed by various reforms, changes in style, "fat" female singers or, previous to them, castrates, dominant sopranos or tenors. This audience sought musical satisfaction above all, and appreciated opera\u27s ability to create character and drama. The usual division of singers-actors to those before and to those after Callas proves to be inappropriate - Chaliapin and Rosa Ponsella (between the two wars) are just two among a great number of inspired artists who don\u27t fit either of the groups. The singing standards of bel canto called attention to the importance of developing character and drama by voice, while the opera critics (mainly from England) fully analyzed true values and individual accomplishments and, in that way, fought for a better tomorrow of opera. Toscanini \u27s aesthetic orientation was crucially significant not only to the Italian opera life, which, during a certain period of time, reflected political and social events within the extremely politicized (fascist) Italian society. In the 20th century, both technical progress and turbulent political and social events have encouraged the forming of a new kind of "musical theater". Multimedia projects and musical fusions create a new picture of opera, which is - in vocal and stage terms - different, and directed chiefly at a younger population more familiar with chamber stage and everyday-life themes. Vocal techniques, stage-managing and scenography are altered in experimental performances, which still can\u27t hold their own with the old opera spectacles that have become a lucrative business. Be that as it may, the new opera forms, containing more or less musical expression, and with authors exploring previously obscure ideas, offer a fresh musical and stage language that is slowly taking over smaller theaters and approaching big opera houses unwilling to yield priority