Many contemporary musicals, such as Les Misérables and Sweeney Todd, are almost entirely sung.

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        Musicals, conversely, generally employ a broader range of vocal styles rooted in popular music idioms, often blending singing with spoken dialogue to enhance storytelling and character development, and their orchestration can incorporate a wider variety of instrumental sounds and musical styles beyond the classical operatic tradition. Thus, while the sung-through nature creates a superficial similarity, the fundamental differences in vocal technique, the integration of spoken word, and the stylistic origins of the music firmly place Les Misérables and Sweeney Todd within the musical theatre genre, distinct from the conventions of opera as exemplified by The Magic Flute's clear separation of sung arias and spoken dialogue, and its predominantly classical vocal aesthetic.

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      While contemporary musicals like Les Misérables and Sweeney Todd are predominantly sung, classifying them as operas alongside something like Mozart's The Magic Flute reveals key distinctions. Both forms utilize sung dialogue and narrative progression, often with complex vocal arrangements and orchestral accompaniment to convey emotion and advance the plot. However, opera traditionally features singers who primarily use classical vocal techniques, often prioritizing vocal power and agility over spoken-word-like clarity, and typically avoids spoken dialogue altogether. Musicals, conversely, generally employ a broader range of vocal styles rooted in popular music idioms, often blending singing with spoken dialogue to enhance storytelling and character development, and their orchestration can incorporate a wider variety of instrumental sounds and musical styles beyond the classical operatic tradition. Thus, while the sung-through nature creates a superficial similarity, the fundamental differences in vocal technique, the