Explores the complex relationship between modernism and operatic traditions, examining how twentieth-century composers both challenged and adapted established theatrical and musical conventions. It discusses modernism's frequent antipathy towards theatricality, often viewing it as inauthentic, while also noting the shifting definitions of theatricality itself. The work analyzes specific operas and composers, such as Wagner's influential yet often critiqued works, Strauss's efforts to move beyond Wagnerian aesthetics, and the interwar period's diverse modernist expressions. Furthermore, it investigates post-World War II modernism's institutionalization and how figures like Stravinsky, Britten, Messiaen, and Saariaho navigated issues of nationalism, religious orthodoxy, and evolving musical styles. The text also highlights the impact of philosophical ideas, like those of Schopenhauer and Nietzsche, and literary influences, such as Gertrude Stein's work on minimalism, on the development of modernist opera.
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