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There are two approaches that dominate contemporary opera performances. The first may be characterised as producing a subtle, aesthetic and stylistic means of expression. The second runs up visual, interpretation and content means to their maximum expressivity and the audience is exposed to violence, sex and experience disgust. This paper analyses specific productions by renowned European theatre and opera directors, in order to shed light on the way in which opera directors cope with the threat of terrorism, sexual violence, and the impact of the mass media upon the moral belief system of modern man. Within the context of the bold productions of European theatre-makers Slovak opera theatre seems conservative, gravitating towards the aesthetic aspect of opera.

The reflection of negative social phenomena in contemporary opera practice