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====From musicals back towards opera==== By the late 1930s, some [[Musical theatre|musicals]] began to be written with a more operatic structure. These works include complex polyphonic ensembles and reflect musical developments of their times. ''[[Porgy and Bess]]'' (1935), influenced by jazz styles, and ''[[Candide (operetta)|Candide]]'' (1956), with its sweeping, lyrical passages and farcical parodies of opera, both opened on [[Broadway theatre|Broadway]] but became accepted as part of the opera repertory. Popular musicals such as ''[[Show Boat]]'', ''[[West Side Story]]'', ''[[Brigadoon]]'', ''[[Sweeney Todd: The Demon Barber of Fleet Street|Sweeney Todd]]'', ''[[Passion (musical)|Passion]]'', ''[[Evita (musical)|Evita]]'', ''[[The Light in the Piazza (musical)|The Light in the Piazza]]'', ''[[The Phantom of the Opera (1986 musical)|The Phantom of the Opera]]'' and others tell dramatic stories through complex music and in the 2010s they are sometimes seen in opera houses.<ref>{{cite news |last=Clements |first=Andrew |title=''Sweeney Todd'', Royal Opera House, London |url=https://www.theguardian.com/music/2003/dec/17/classicalmusicandopera1|newspaper=[[The Guardian]]|location=London |date=17 December 2003 |access-date=15 December 2016 |archive-date=10 May 2017 |archive-url=https://web.archive.org/web/20170510220401/https://www.theguardian.com/music/2003/dec/17/classicalmusicandopera1 |url-status=live }}</ref> ''[[The Most Happy Fella]]'' (1952) is quasi-operatic and has been revived by the [[New York City Opera]]. Other [[Rock musical|rock-influenced musicals]], such as ''[[The Who's Tommy|Tommy]]'' (1969) and ''[[Jesus Christ Superstar]]'' (1971), ''[[Les Misérables (musical)|Les Misérables]]'' (1980), ''[[Rent (musical)|Rent]]'' (1996), ''[[Spring Awakening (musical)|Spring Awakening]]'' (2006), and ''[[Natasha, Pierre & The Great Comet of 1812]]'' (2012) employ various operatic conventions, such as [[through-composed music|through composition]], recitative instead of dialogue, and [[leitmotif]]s.
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