One of the mysteries of the English language finally explained.
An opera in which arias and other sections are clearly separable.
- ‘Perhaps one very specific innovation that can be attributed to the work as a whole is that it achieved, like Weill over 30 years previously, a modern re-interpretation of the 18th-century number opera.’
- ‘This sensation of fragmentation effectively places the work closer to number opera, rather than Wagnerian music-drama, even though there are no actual set pieces in the traditional sense.’
- ‘Returning to the conventions of the number opera, as Krenek and Hindemith did, could not but produce music disquietingly at odds with its modern subject matter.’
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