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OPERA, established in 2009, seeks a new approach to editing musical stage works, different from the traditional complete works or musical monumental series, which were often centred on the composer as the sole creator of the musical stage work in all its aspects. Following recent developments in musical and textual criticism, in particular with regard to the author and the work-concept as well as to the discussion of musical genres and their historical context, OPERA emphasizes the notion of multiple authorship, e.g., of text and music. At the same time, OPERA argues for a collective view of musical, literary, and other sources, which are considered of equal value and treated with the same depth of textual criticism. The musical stage works of the European tradition to be edited, 21 in total, are grouped by OPERA into six modules according to the specific editorial issues they are connected with. They include traditional through-composed operas, but also genres such as ,Singspiel‘, operetta, drama with incidental music, melodrama, and ballet. OPERA editions are presented in the form of hybrid editions: The scores are published in printed volumes, while the text editions and critical reports are presented in an electronic format, which enables visualizing the sources, the Music Edition and the Text Edition, and establishing a comprehensive interlinking of the editions with the sources and the critical apparatus. For this purpose, OPERA uses the Edirom software tools, developed by the Edirom project at the University of Paderborn, which was modified according to the requirements of OPERA, especially for the incorporation of text editions. Among the features described here is a navigation tool which allows the user to call up and display synchronously any corresponding textual and musical units or objects. Likewise, one common critical apparatus comments on both the Text and Music Edition, and is accessible from either of the two directions. Case studies of two forthcoming editions demonstrate the handling of specific issues of textual criticism as well as practical programming and encoding strategies. The ‹come’die en vaudevilles› Annette et Lubin (Paris 1762) by Justine Favart and Adolphe Blaise illustrates the inseparability of musical and literary sources against the backdrop of the peculiarities of the genre. Ferdinando Pae‥r’s Italian opera Leonora (1804/09) serves as an example of variants applied by the author on different occasions, which, as a result, overturn the concept of a single definite version

Musik – Theater – Text: Grundfragen der Musiktheaterphilologie im Spiegel der OPERA-Hybridausgaben