Musical theater has a long history and deep extensive origins. In the medieval folk and cult (“sacred”) performances that anticipated it, as well as in ancient tragedy, the role of music was always great. As a special kind of dramatic art, opera developed towards the end of the 16th century in Italy, the classical country of the Renaissance. By 1580, a society was formed in Florence that called itself Camerata (a diminutive of the Italian word camera – room, in this context it means – circle, salon). It was a commonwealth of artists, humanists, lovers of music and literature. As a result of creative searches, the members of the Florentine community created the first musical and dramatic work. The year 1594, when the premiere of this work entitled “Daphne”, written by the composer-singer Jakob Peri, was historically marked by the beginning of the existence of the Opera. But the fully formed concept of opera appeared later, in 1639, in Venice, as opera in musica (musical work), or, in short, opera (in Latin, it means action, work, creation). Thus, the art of song was combined with dramatic narration, which, under the conditions of an opera performance, since then, have constantly been in rivalry with each other, although, it would seem, they were called to serve the same goal. In this historically continuous “dispute” between music and the word, the tendency to win invariably remained on the side of music, which every time led the opera to stage absurdities, to faster aging, to the inevitability of new reforms. For almost five centuries of its existence, the opera genre has undergone a colossal historical, stylistic and conceptual evolution and, of course, it is impossible to unify such contradictory data about the opera libretto or give any general recipes suitable for all its varieties. Because, in fact, there is no one true operatic form. How many different opera plots have been invented in the world, correspondingly, the same number of opera librettos exist.