ABSTRACT
Starting with late-twentieth-century operas – Jesus Christ Superstar, Sweeney Todd, and a few others, Chapter 17 points to the things that make the music of Adams, Adorno, Mollicone, Glass, and several other composers difficult for the coach. Included is a mention of minimalism and graphic scores. As much as possible, I try to cover which operas take a traditional approach and which do not. A few roles are mentioned with their possible Fachs and the arias that might be used for auditions.
