WHY DOES OPERA LURE FILMMAKERS?
Film, as an inherently contemporary medium, might appear far removed from the stately anachronisms of opera. But a surprising number of present-day film directors seem to have become actively involved with opera, to the point of benign obsession. The two forms are not so disjunct as one might at first imagine. Both combine the arts in the synthesizing fashion favored by Western culture since at least the time of the ancient Greeks. Most films sublimate the music to a greater extent than in traditional opera. But the basic notion of a combination of the arts, all working in the service of a higher dramatic purpose, remains common to both. Right now in New York, examples of the film world's new fascination for opera are everywhere apparent -from the critical and popular success of Franco Zeffirelli's ''Traviata'' and Hans Jurgen Syberberg's ''Parsifal'' to Werner Herzog's ''Fitzcarraldo'' and Jean-Jacques Beinix's ''Diva'' to Public Television's offering of Patrice Chereau's Bayreuth ''Ring of the Nibelung'' to the nearweekly ''Live from the Met'' and ''Live from Lincoln Center'' operatic telecasts.