Observations on the subject of opera :

Feelings become uniformed - our daily experience with television (even information programs are unified by always similar background music with such standardized sensations), in advertising, in the entertainment sector and so unfortunately also tends to be in opera - differentiation largely equalizing....

Musical sensations, in contrast to linguistic, are not concretizable. Sound and text (music and narration) remain largely attached to their own life, to their singular in detail. Both partners only as mutual metaphors?

Text - melody - structure - harmony - chord - intervals down to the single tone are not really staged - not verifiably constituted - only real as a construction. 

The audience experiences opera rather differently than it is staged in detail by directors: beautiful voices and a stage show with varied events, so the experience. The singers primarily represent themselves as being as consistent as possible, brilliant - the played character recedes into the background despite all the differentiated direction. No direct experience of the text - only via the supertext as a vehicle isolated from the music (spatially as well as perceptually-psychologically).

In criticism mainly of contemporary opera, a music theater for soloists, choir, orchestra and electronic sounds has been created (2015..2023) with text from Ovid's Orpheus:

wörtlich – wortwörtlich (verbatim):

The narration is spoken.

The singers move mostly not attention-grabbing at the front of the ramp. In restrained moments suggestive precisely because of this, at times somewhat erratic.

The chorus: moving chaotically, or roughly striking, jerky, loudly gesturing to the audience, or quietly humble, meditative, suggestive as if in slow motion.

Secure or insecure in posture.

All figures are ambiguous, only immediately identified in the respective situations, in the course contradictory in their function.

This is composed and not (yet) staged.

Progression :

In the course of the piece with an imperceptible, blurred beginning, the narrative becomes completely audible in fragments, always interrupted by moments of uncertainty, obscurations of the text, disturbances of the accompanying sensation in its expectation of continuation, then again clear temporary support of the narrative - a play with feelings. 

Transitions to a section of nature mimesis on a musical level, which, however, remains sensually tangible. This occurs through rotations and repetitions or singlings of words. Hints to the origin of voice and string sound. Here no further development, but time standstill.

A special voice for contemporary singing represents nature with textless sounds in contrast to the "conventional" soloists soprano and tenor.

With the burgeoning of aggression against Orpheus, nature transforms into human feelings such as hatred, banishment, rage, also reinforcing this through singularizations of the terms and here metrical repetitions (demonstration character). Orpheus is also accused of alienating nature through his singing, which then exuberantly regresses to its original essence.

After his death, a mourning part then takes on a life of its own, culminating in crushing pathos.

Two artificial orchestral echoes over loudspeakers, accompanied by the orchestra, sound as an ebbing, a breathing out to the end.