Abstract: (Theses and Antitheses in Contemporary Theatre) Lately, European and American journalists have been talking more and more about a revolution in the opera discourse of references, more or less motivated to the directorial-scenic vocabulary of many assemblies on the stages of opera theatres everywhere. The theme of the debates focuses mainly on the stage director-conductor-lyric interpreter relationship. Hence a series of dilemmas related to loyalty or infidelity to the creators of works (composers, librettists) appeared: to what extent is the backbone of the works respected, or, in other words, if in the laborious process of the interpretative exhibition one can ignore this dimension of the actual opera score. Opera, where to?! Right now it is difficult to give a pertinent answer to this question. We could only analyse to what extent the temptation of the interpretative, director-musical solutions could provide a perspective on a potential profile of the future opera.