information:highlighting, linguistic:voice_change
Other countries

In the Soviet Union (Russia since 1991), music enjoyed state protectionism, although under the stylistic and argumentative guidelines imposed by the regime, generally linked to a certain post-Romantic nationalism. Tikhon Khrennikov excelled as a symphonic musician and was the author of several operas, including Frol Skobeiev (1950) and Mat (The Mother, 1957), based on a novel by Maksim Gorky. Fikret Amirov composed ballets, symphonic and concert music and some operas, most notably Syevil (1953), which he recomposed three times until he premiered the definitive version in 1980. Other exponents were: Vissarion Shebalin (Ukroshcheniye stroptivoy, 1957; Solntse nad stepyu, 1958) and Rodion Shchedrin (Oratoriya Lenina, 1972; Lolita, 1992).

In Hungary, György Ligeti developed an eclectic oeuvre in which each of his compositions was independent of the rest, although a certain neodadaist tendency was discernible. He composed only one opera, Le Grand Macabre (1976), with a somewhat chaotic score that included fragments alluding to other composers, as well as various heterodox sounds, both guttural and from instruments such as horns and whistles.

In Finland, Aulis Sallinen moved in a traditional tonal language, with a great sense of rapport between music and theater. His first opera, Ratsumies (The Rider, 1975), was a great success, so the Finnish National Opera commissioned another work, Punainen viiva (The Red Line, 1978). The next commission was from the BBC and the Royal Opera House in London, Kunningas lähtee Ranskaan (The King Marches to France, 1983). Other works of his were Kullervo (1988), Palatsi (The Palace, 1995, chamber opera) and King Lear (2000). Einojuhani Rautavaara was mostly devoted to symphonic music, but made a foray into opera with Apollo v. Marsyas (1973), after which he conceived a trilogy in which he elaborated text and music: Sammon Ryosto (The Myth of Sampo, 1982), Thomas (1986) and Vincent (1990). More recently noted composer Kaija Saariaho (L'amour de loin, 2000; Only the Sounds Remains, 2015).

Polish Krzysztof Penderecki was a violin virtuoso as well as a composer, with an avant-garde style heir to atonalism. He composed four operas, of difficult vocal interpretation due to the orchestral density —with glissandos and vibratos — and the guttural sounds integrated in his compositions: The Devils of Loudun (1969), Paradise Lost (1978), Die Schwarze Maske (1986) and Ubu Rex (1991).

Slovak Eugen Suchoň showed some influence of Leoš Janáček, in operas such as Krútňava (The Whirlpool, 1949) and Svätopluk (1960).

In Sweden, worth mentioning in these years are: Karl-Birger Blomdahl (Aniara, 1959) and Hilding Rosenberg (Hus med dubbel ingäng, 1970).

In Belgium, Philippe Boesmans denoted the influence of Henri Pousseur, as seen in Reigen (1993) and Wintermärchen (Winter's Tale, 1999).

In Israel, Marc Lavry composed the first opera in Hebrew: Dan ha-shomer (Dan the guard, 1945). Subsequent works include Menachem Avidom (Aleksandrah, 1961).

John Haddock was the author of the first Australiana opera: Madelin Lee (2004).

The US-based Chinese Tan Dun was noted for his music for film and events such as the 2008 Beijing Olympics, and was the author of several operas: Marco Polo (1996), Tea: A Mirror of Soul (2002) and The First Emperor (2006).

In Thailand, the composer Somtow Papinian Sucharitkul, grand-nephew of King Rama VI, was the promoter of the establishment of opera in the country and author of the first national operas: Madana (1999), Mae Naak (2001), Ayodhya (2006).