Many opera lovers today are the transition from classical opera to modern opera that occurred concomitantly with the death of Puccini in 1924. There are epitaphs that can easily be spotted in Little Italy as well as Lincoln Center in New York. A change in operatic repertoire has been noticed since the turn of the 21st century.
Most of the decisive advancements that have taken place in contemporary times are yet to be fully acknowledged. The operas that were performed in between the two world wars are twice as many as those that were performed during the period that many people prefer to refer to as the Golden age.
The period between 1900 and 1918 saw the introduction of operas such as Pelleas et Melisande, Salome, Rosenkavalier, Bluebeardís Castle, Plestrina Elektra, among many others. During this time, the greatest pointer of the future was Leos Jefuna, although he was not given any recognition at the time. Jefuna made it to the Prague performance and gained wide international exposure.
Many post-war changes in operatic performances took the form of a wave. Some of the greatest names that rode in this wave were the elderly legends of opera such as Janacek who premiered in 1921 and the Cunning Little Vixen who hit the premiere stage three years after Vixen. Opera at this time was characterized by simple emotional overloads that were unlike anything witnessed during neo-classical times.
One remarkable change that saw the birth of modern opera is the break-away trend that saw Italian and German influences wane throughout Europe and the Americas. Although traces of these influences still remain, their most dramatic reduction took place between the First and Second World War.
Many lovers of opera today have fixed notions of what to expect in an opera house. This preconditioning phenomenon sometimes makes the audience fall out of favor with those opera singers who want to go with the changing times. The stark reality that is hitting home among modern opera performers is that they donít have anyone to apologize to for disappointing fans who have fixed notions of what an opera ought to look like. These new generations of modern opera stars are therefore not willing to take any risks.
[ad#downcont]Sensuality and exoticism are some of the main factors that have enabled modern opera performers to hover on the fringes of acceptability. One of the names worth mentioning here that of Szymanowski who composed King Roger in 1926 and which turned out to be an extremely popular viewing last summer in Edinburgh. Bohuslav is another performer who contributed to the development of a modern opera genre with his composition that is destined for posterity, Julietta.
The popularity of modern compositions is largely due to the increase in posterity performances that frequently take place in the cities of Vienna, Salzburg (which is the birthplace of Mozart), San Francisco, and New York.