It is well known that Bohuslav Martinu never solved in two operas the same dramaturgic issue. Each opera has a new dramaturgic form, and each time, the quality of a libretto and the requirements of a medium via which the opera was transmitted were captured differently. Martinu was in constant quest of parallels and contrasts between the various options of style plurality of his music and the plurality of the forms of dramaturgic solutions of the 20th century opera. He was able to garner ingenious dramaturgic solutions from these parallels, which have retained their attractiveness for both the music theatre and contemporary opera.
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