Practica de salto în producțiile de operă: de la tradiție la practicalitate sau vice versa?
The practice of salto in opera productions: from tradition to practicality or vice versa?

Summary/Abstract: Even before opera became a tradition in itself, Monteverdi rewrote the final score of his opera L'Orfeo after its premiere. Since then, opera composers have made numerous changes to their scores, either as a result of the premiere's reception among the public and critics or to adapt the score to the taste of audiences in different European cultural centers (Paris, Vienna, Venice). But what happens to the score after the composer's death, for what reasons and in what ways are opera scores adapted for stage production, and where does the musical text stand in relation to the rigors of the stage? Conductors, directors, and even vocal performers, especially prima donnas, have taken up this tradition, perpetuating various versions of these scores. The taste of the public evolves over the centuries, and yet the same masterpieces constitute the basis of the opera repertoire, as opera has been, is, and remains a cultural phenomenon today. The research aims to classify and analyze the practice of 'cuts' in opera scores—a procedure completely unimaginable, a true sacrilege, in the symphonic or vocal-symphonic repertoire—highlighting, with relevant examples, the various motivations behind them: the difficulty of the score, its adaptation for different categories of audiences, adaptation to different stage spaces (tours), reducing the duration of the performance, avoiding moments of stagnation in the action—in a century of speed, or even the redundancy of the musical text. Some 'cuts' are at least inopportune, but others have entered the sacred tradition of the genre.

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