<P> In the 1980s, supertitles (sometimes called surtitles) began to appear . Although supertitles were first almost universally condemned as a distraction, today many opera houses provide either supertitles, generally projected above the theatre's proscenium arch, or individual seat screens where spectators can choose from more than one language . TV broadcasts typically include subtitles even if intended for an audience who knows well the language (for example, a RAI broadcast of an Italian opera). These subtitles target not only the hard of hearing but the audience generally, since a sung discourse is much harder to understand than a spoken one--even in the ears of native speakers . Subtitles in one or more languages have become standard in opera broadcasts, simulcasts, and DVD editions . </P> <P> Today, operas are only rarely performed in translation . Exceptions include the English National Opera, the Opera Theater of St. Louis, Opera Theater of Pittsburgh, and Opera South East, which favor English translations . Another exception are opera productions intended for a young audience, such as Humperdinck's Hansel and Gretel and some productions of Mozart's The Magic Flute . </P> <P> Outside the US, and especially in Europe, most opera houses receive public subsidies from taxpayers . In Milan, Italy, 60% of La Scala's annual budget of € 115 million is from ticket sales and private donations, with the remaining 40% coming from public funds . In 2005, La Scala received 25% of Italy's total state subsidy of € 464 million for the performing arts . In the UK, Arts Council England provides funds to Opera North, the Royal Opera House, Welsh National Opera, and English National Opera . Between 2012 and 2015, these four opera companies along with the English National Ballet, Birmingham Royal Ballet and Northern Ballet accounted for 22% of the funds in the Arts Council's national portfolio . During that period, the Council undertook an analysis of its funding for large - scale opera and ballet companies, setting recommendations and targets for the companies to meet prior to the 2015--2018 funding decisions . In February 2015, concerns over English National Opera's business plan led to the Arts Council placing it "under special funding arrangements" in what The Independent termed "the unprecedented step" of threatening to withdraw public funding if the Council's concerns were not met by 2017 . European public funding to opera has led to a disparity between the number of year - round opera houses in Europe and the United States . For example, "Germany has about 80 year - round opera houses (as of 2004), while the U.S., with more than three times the population, does not have any . Even the Met only has a seven - month season ." </P> <P> A milestone for opera broadcasting in the U.S. was achieved on December 24, 1951, with the live broadcast of Amahl and the Night Visitors, an opera in one act by Gian Carlo Menotti . It was the first opera specifically composed for television in America . Another milestone occurred in Italy in 1992 when Tosca was broadcast live from its original Roman settings and times of the day: The first act came from the 16th - century Church of Sant'Andrea della Valle at noon on Saturday; the 16th - century Palazzo Farnese was the setting for the second at 8: 15 P.M.; and on Sunday at 6 A.M., the third act was broadcast from Castel Sant'Angelo . The production was transmitted via satellite to 105 countries . </P>

Opera buffa was often performed in the common language of the country of origin