Even Insects Can Sing Arias

Yet for all the bells, whistles and arias, at the heart of every opera is a story that must be deftly told in order to succeed. "In terms of plot, story development and structure, an opera shouldn't be thought of as different from any other art form," says Peter Gelb, general manager of the Metropolitan Opera. "It's just more complicated." No matter how memorable the score, how lavish the set or how bright the spotlight, an opera falls apart if the dramatic components—character, conflict, arc—don't add up. "The danger of modern operas not being suitable is when they're not thought of as complete dramatic entities," says Gelb.

Of course, there are detractors. Some cognoscenti have trouble mustering the same enthusiasm for arias like "Am I in Your Light?" from "Doctor Atomic" that they have for "Nessun Dorma" from Puccini's "Turandot," so the opera establishment is taking steps to maintain their support. But Gelb refuses to stage sensationalistic shows that cater to rookies but drive away veterans. "It's ridiculous to think that you can attract new audiences while spurning your longtime patrons," he says.

Where librettos are concerned, the plots continue to thicken. For the 2010 season, the Royal Danish Theatre has set its sights on Lars von Trier's film "Dancer in the Dark." "Brokeback Mountain" is set to debut at New York City Opera in 2013. And for the first time in history, a documentary will come to life on the operatic stage: Milan's famed La Scala has commissioned "An Inconvenient Truth," Al Gore's treatise on global warming, for 2011, with the character of Gore featuring prominently in the work. Even Richard Smith, the creator of "Jerry Springer: The Opera," has found a new lurid inspiration: Anna Nicole Smith. And why not? As bass-baritone Daniel Okulitch, star of "The Fly," puts it, "If Jerry Springer can be turned into an opera, all bets are off." He should know—he sings the part of an insect.

© 2008