Changes

[[Richard Wagner]] hauled opera off into a new place. The recitative disappeared, as did the aria to some extent, to be replaced by a sort of “constant music”, dominated by previously unheard orchestral textures and harmonies and the use of the “leitmotif”, whereby each character or scene in the opera is “identified” by a musical phrase introduced with their first appearance. The characters, the voice, the orchestra, the scenery, the complete fabric of the opera, were treated as a whole, which he called “Music Drama”.

[[Richard Wagner]] hauled opera off into a new place. The recitative disappeared, as did the aria to some extent, to be replaced by a sort of “constant music”, dominated by previously unheard orchestral textures and harmonies and the use of the “leitmotif”, whereby each character or scene in the opera is “identified” by a musical phrase introduced with their first appearance. The characters, the voice, the orchestra, the scenery, the complete fabric of the opera, were treated as a whole, which he called “Music Drama”.

The 20th century, it seems, was not fond of comedy. Starting at the end of the previous century with the ''verismo'' operas of [[Pietro Mascagni]], [[Ruggero Leoncavallo]] and the incomparable [[Giacomo Puccini]] the great operas of the century are nearly all miserable. Love rarely prevailed. Humour appears occasionally ([[Sergei Prokofiev|Prokofiev]]’s ''A Love for Three Oranges'',  [[Dmitri Shostakovich|Shostakovich]]’s ''The Nose'',  ''Der Rosenkavalier'' of [[Richard Strauss]], (normally almost mini-Wagnerian in his treatments); but most of the great genuinely 20th century operas, starting with [[Claude Debussy]]’s ''Pelléas and Mélisande'' including the groundbreaking works of the Englishman [[Benjamin Britten]] (''Peter Grimes'', ''Billy Budd'' ''The Turn of the Screw'', ''Death in Venice'') were dark. (There are exceptions: Britten wrote an operatic version of ''A Midsummer Night’s Dream'', and operas for children). Late in the century topical concerns prevailed: the [[American]] [[minimalist]], [[John Adams]] wrote ''Nixon in China'' and ''The Death of Klinghoffer'' (based on the PLO terrorists’ hijacking of the cruise liner, “Achille Lauro” in 1985).  

The 20th century, it seems, was not fond of comedy. Starting at the end of the previous century with the ''verismo'' operas of [[Pietro Mascagni]], [[Ruggero Leoncavallo]] and the incomparable [[Giacomo Puccini]] the great operas of the century are nearly all miserable. Love rarely prevailed. Humour appears occasionally ([[Sergei Prokofiev|Prokofiev]]’s ''A Love for Three Oranges'',  [[Dmitri Shostakovich|Shostakovich]]’s ''The Nose'',  ''Der Rosenkavalier'' of [[Richard Strauss]], (normally almost mini-Wagnerian in his treatments); but most of the great genuinely 20th century operas, starting with [[Claude Debussy]]’s ''Pelléas and Mélisande'' including the groundbreaking works of the Englishman [[Benjamin Britten]] (''Peter Grimes'', ''Billy Budd'' ''The Turn of the Screw'', ''Death in Venice'') were dark). (There are exceptions: Britten wrote an operatic version of ''A Midsummer Night’s Dream'', and operas for children). Late in the century topical concerns prevailed: the [[American]] [[minimalist]], [[John Adams]] wrote ''Nixon in China'' and ''The Death of Klinghoffer'' (based on the PLO terrorists’ hijacking of the cruise liner, “Achille Lauro” in 1985).  

Opera is still popular despite attempts by some on both sides of the artistic divide to divorce it entirely from popular culture. The popularity of [[Luciano Pavarotti]], and so-called “crossover” artists like Katherine Jenkins and [[Paul Potts]] testifies to this. Opera houses still get by, despite the enormous costs of producing works like ''Aida'' or ''War and Peace''. Operas are still being written; not always to critical acclaim – it must be remembered, though, that Bizet died believing that ''Carmen'' was a complete failure.

Opera is still popular despite attempts by some on both sides of the artistic divide to divorce it entirely from popular culture. The popularity of [[Luciano Pavarotti]], and so-called “crossover” artists like Katherine Jenkins and [[Paul Potts]] testifies to this. Opera houses still get by, despite the enormous costs of producing works like ''Aida'' or ''War and Peace''. Operas are still being written; not always to critical acclaim – it must be remembered, though, that Bizet died believing that ''Carmen'' was a complete failure.