Abstract
The opera production in Moscow on the example of the iconic performances of the 2021/2022 season is considered as a phenomenon that reflects the trends of the time and the main directions of the search for modern theater. Making an analytical review of new productions, the author concludes that today the stage is traditionally dominated by classical opera in conceptual director's productions — many of these performances cause sharp controversy from critics and ambiguous acceptance from the public. The significance of the discovery on the domestic stage of little-known works that expand the content of the repertoire lists of the modern opera house is noted. The author's attention is also attracted by new opera projects of our time, which reveal the semantic horizons both in the genre of opera and in its director's interpretation.
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