Thanks to his theatre Meyerhold was to create a lab to determine new tendencies in the musical theatre. In these operas, the merited master built the mise-en-scenes and general repetitions conformed to the musical score and not to staged drama. The principle of building of the performance based on character, rhythm, and musical dynamism was not specially corresponding to those components. They were sometimes in counterpoint to accentuate some aspects or ideas. Meyerhold diversified the dramatic role of the opera actor. He mentioned that in an opera performance the motion must not join the logical thought, but must join the musical building, which was surmissing. The stage director and great reformer saw the future and the perspectives of the musical theatre in the recitative opera. That is why, there are moments when Meyerhold respected dramatic text and gave original pieces to recitation. For example, in „ ” the text was recited almost word by word by the actors that were situated in the Front scene. That was called cameral effect. In this case, the stage director refused the curtain and sapped the antracts. The actors were to sing in such a way as the audience would not notice their song. The impact of musical art of Wagner is felt in Meyerhold’s creation, especially because the actors were to built phrases directly in the scene. “In Tristan and Isolda” Meyerhold accentuated less the motion. But the musical spirit discloses the dramatism of the action.