How can we talk about musico-dramatic methods and models for operatic acting, and how do these relate to other kinds of acting? Observing the tendency of operatic professionals and peda-gogues to import concepts and ideals from theatrical and cinematic practices with non-operatic application of music, we reflect upon what possibilities and problems this discursive choice in-stils. Interestingly, while operatic practice predates many of the acting schools influencing opera today, there is an apparent lack of documented genre-specific and singer-centered methodology related to operatic acting. This observation has instigated a mutual exchange of reflections in parallel with our respective practical endeavors. As operatic practitioners, we come from simi-lar backgrounds as trained opera singers in the classical tradition, but with different explorative approaches as artistic researchers in music drama. In our view, a musico-dramatic acting methodology needs to address the core aspects of operatic acting. These aspects concern performative and interpretative as well as operative and cognitive skills. Turning our attention to the same issue from different positions has highlighted both common ground and the need for further development. By displaying the core arguments of our dialogue in annotated and recited form, we hope to raise new questions and ideas about musico-dramatic performance.