Poster for Madam Butterfly, Poligrafici Luigi Parma, 1974, Italy. In Britain, Benjamin Britten composed both 'traditional' operas like Peter Grimes (1945) and pared-back 'chamber operas' such as The Rape of Lucretia (1946) and The Turn of the Screw (1954). In the 1580s a group of Florentine intellectuals known as the Camerata thought it would be a good idea to create a mixture of music and theatre along the lines. In traditional number opera, singers employ two styles of singing: recitative, a speech-inflected style, and self-contained arias. Certain rules are set up and regulations are standardized during many artists' long practice. It is a scenic art integrating music, performance, literature, aria, and face-painting. In Austria, Alban Berg wrote the atonal Wozzeck in 1925, while Kurt Weill created his jazz-inspired work, The Threepenny Opera, in 1928. Beijing Opera is developed from absorbing many other dramatic forms, mostly from the local drama 'Huiban' which was popular in South China during the 18th century. Opera in Germany presented two significant styles: 1) German Romantic opera and 2) music drama, the latter conceived and developed by Richard Wagner. As the century progressed, the general trends of opera became even more fractured, under the influence of the Avant Garde movement. In France, Debussy explored poetic and evocative melody, composing Pelleas and Melisande, (1902), while in Germany, Strauss was dissonant and intentionally shocking in his approach, with extreme subject matter such as Salome, with its erotic 'Dance of the Seven Veils', in 1905.
In Italy, Puccini recreated 19th century romanticism with well-loved operas such as Tosca (1900), Madam Butterfly (1904), and Turandot (1926). Perhaps the single greatest musical development of the Baroque period is the creation a new genre of vocal music: opera. The 20th century saw a more individualistic approach.
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