NEW FORMS OF SYNCRETISM IN THE OPERAS OF THE FIRST HALF OF THE 20TH CENTURY. THE INTERTWINING GENRES
NEW FORMS OF SYNCRETISM IN THE OPERAS OF THE FIRST HALF OF THE 20TH CENTURY. THE INTERTWINING GENRES

Summary/Abstract: Given the multiple aspects of the post-Wagner opera genre, with a history so heterogeneous and fragmented as to prevent detailed coverage, it would be superficial on our part to attempt a complete presentation of 20th century opera. Limiting ourselves to the new variety of stagings and their reception, we shall dwell on the numerous genre works, their chronological continuity, changes in the perception of syncretism (the various terms applied to the genre – lyrical drama, musical story, monodrama, musical or instrumental theatre, etc.), the particulars of the relationship with theme and dramaturgy types (the verist, post-romantic, impressionist, expressionist, neoclassical), approached languages (tonal, modal, atonal, serial or combinations of these) and the intertwining vocal (cantata, oratorio) or instrumental genres (poem, fantasy and typical structures of autonomous music – invention, fugue, sonata, etc.).

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