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But in the context of the opera's structure and narrative thrust, of more significance is her status as an operatic figure.
Most people who are not themselves singers fail to appreciate the extraordinary physical labour and tension required to produce an operatic sound.
From the start to the finish of an operatic project, librettists adjusted and readjusted their texts around the traditional imperatives of vocal and theatrical types.
But this obviously refers to the intrinsic musical event, and has nothing to do with operatic convention in the broadest sense.
Operatic characters do indeed sing all the time, but what they sing are not always songs.
But as a matter of principle, these songs were placed in contexts where singing rather than speaking could plausibly be expected of operatic characters.
Extreme vocal virtuosity, expression, and attention to nuances of vocal timbre, for example, are traits prized by both operatic and rock singers.
The central purpose of the article is to challenge operatic conventions by suggesting ideas for dramatic changes.
If we want to address operatic staging critically, we need to be selective, both in the productions we discuss and in the traits we highlight.
This was the question that would absorb and affect the development of the operatic marketplace through much of the nineteenth century.
The conventional operatic world of romance, mistaken identity and intrigue has been displaced by one of ideological celebration.
The actual source of the operatic stories is perhaps the least important factor for this argument.
We have nothing dramatic or operatic on which to hang the chords.
That has cleansed the classical operatic heritage of the filth that has clung to it for many decades.
The economic development of the operatic marketplace depended on the production of works, the control of works, and the exploitation of works.
