Editing Opera in German (section)

==Since 1945==
Composers writing after World War II had to find a way of coming to terms with the destruction caused by the Third Reich. The modernism of Schoenberg and Berg proved attractive to young composers, since their works had been banned by the Nazis and were free of any taint of the former regime. [[Bernd Alois Zimmermann]] looked to the example of Berg's ''[[Wozzeck]]'' for his only opera ''[[Die Soldaten]]'' (1965), and [[Aribert Reimann]] continued the tradition of expressionism with his [[William Shakespeare|Shakespeare]]an ''[[Lear (opera)|Lear]]'' (1978). Perhaps the most versatile and internationally famous post-war German opera composer is [[Hans Werner Henze]], who has produced a series of works which mix Bergian influences with those of Italian composers such as [[Giuseppe Verdi|Verdi]].{{citation needed|date=November 2021}} Examples of his operas are ''[[Boulevard Solitude]]'', ''[[The Bassarids]]'' (to a libretto by [[W. H. Auden]]) and ''[[Das verratene Meer]]''. [[Karlheinz Stockhausen]] set off in an even more avant-garde direction with his enormous operatic cycle based on the seven days of the week, ''[[Licht]]'' (1977–2003). [[Giselher Klebe]] created an extensive body of work in the [[:Category:Operas by Giselher Klebe|operatic genre]] based on [[Literature|literary]] works.<ref>{{cite web
|url = http://www.nmz.de/nmz/2005/09/magazin-klebe.shtml
|title = Zeit als Intensität und Qualität
|access-date = 2007-12-31
|last = Schäfer
|first = Brigitte
|date = September 2005
|work = [[Neue Musikzeitung]]
|publisher = ConBrio
|pages = 4
|language = de
|archive-url = https://web.archive.org/web/20061123190813/http://www.nmz.de/nmz/2005/09/magazin-klebe.shtml
|archive-date = 2006-11-23
|url-status = dead
}}</ref> Other leading composers still producing operas today include [[Wolfgang Rihm]] and [[Olga Neuwirth]].{{sfn|Parker|1994|pp=324–325}}{{sfn|Holden|1993|loc=Articles on Zimmermann, Reimann, Henze, Stockhausen}}