Why did 18th-century critics object to the conventions of opera seria?

By the 18th century, critics increasingly objected to the conventions of opera seria because they viewed the genre as artificial, irrational, and detrimental to dramatic integrity.12

The primary criticisms focused on the following aspects:

• Dramatic Stasis: The rigid structure—alternating between recitative to advance the plot and da capo arias for emotional reflection—frequently halted the dramatic action. Critics argued that these constant interruptions prevented the development of a cohesive, believable drama.31
• Excessive Ornamentation: The focus on vocal virtuosity and coloratura was seen as a "useless and superfluous" distraction that prioritized the singer's ego over the emotional truth of the text.43
• Artificiality: The da capo form itself was criticized for its dramatic impropriety; returning to the mood of the initial section (A) after the contrasting mood of the middle section (B) was often perceived as absurd and illogical.3
• Formulaic Nature: The reliance on standardized character types and predictable musical successions led to a perceived decadence, prompting calls for a "beautiful simplicity" and a return to music that served the poetry rather than overshadowing it.41