Butchering Mozart Operas

[Agnes Selby]

Please read:

http://www.city-journal.org/2011/bc0824hm.html

[Peter]

I'm not at all surprised Agnes - what matters to these people is their own agenda (usually politically motivated), certainly not Mozart. They think they are so clever the more they try to shock you, well I'm not shocked, only amazed that people actually will pay a lot of money to watch the tripe.

[Agnes Selby]

I'm not at all surprised Agnes - what matters to these people is their own agenda (usually politically motivated), certainly not Mozart. They think they are so clever the more they try to shock you, well I'm not shocked, only amazed that people actually will pay a lot of money to watch the tripe.

That was exactly my reaction. Why would anyone want to warch it!

[Roehre]

Why would anyone want to watch it!

I seriously do think that with HIP arriving at the concert halls and the theaters, some directors should try to leave their own interpretation of the scores on the shelves and respect the composer's and librettist's instructions in stead of boring people and robbing them from a musical experience as a result of a 21C rubbish stage production.
This doesn't mean that the style on stage has got to be a 18C or 19C reconstructed one, as a new retro style would do the same.

But I am sick of all those directors' interpretations , which is the very main reason I don't attend opera productions and why I stick to the "conservative" stages of Levine's Ring and don't like the Chereau ones.

I prefer to listen to operas at home, and imagine myself the place where it all is happening according to the instructions in the score.

I almost would concur with Boulez: burn down those opera houses

[Sorrano]

I prefer to listen to operas at home, and imagine myself the place where it all is happening according to the instructions in the score.

The imagination is your best tool, anyway; that's why books are so fantastic. I've listened to Die Fliegender Hollander and when I actually watched several scenes I was disappointed.

[Peter]

I seriously do think that with HIP arriving at the concert halls and the theaters, some directors should try to leave their own interpretation of the scores on the shelves and respect the composer's and librettist's instructions in stead of boring people and robbing them from a musical experience as a result of a 21C rubbish stage production.
This doesn't mean that the style on stage has got to be a 18C or 19C reconstructed one, as a new retro style would do the same.

But I am sick of all those directors' interpretations , which is the very main reason I don't attend opera productions and why I stick to the "conservative" stages of Levine's Ring and don't like the Chereau ones.

I prefer to listen to operas at home, and imagine myself the place where it all is happening according to the instructions in the score.

I almost would concur with Boulez: burn down those opera houses

Yes I agree it isn't necessary to have people always dressed up in 18th/19th century garb UNLESS the work is specifically set at that time, but I think the historical context should be respected as well as the composer! Many opera productions have been hijacked by sensationalist directors who are convinced the only way to present opera to a new generation is to make it as pornographic, violent and sick as they can imagine.

[Sorrano]

I think it was earlier this year, but there was a production of Wagner's Ring at Bayreuth that was controversial. Fortunately, I was only able to listen as this was on the radio. Being clever is one thing but trying to be clever via shock is not the same.

[Chris]

I hope directors will eventually realize that most people don't WANT to see operas like this. In the end, it's pointless, because if it's pornography, violence, and sickness you want, there are "better" places to get it anyway. Leave the music alone!

[Hollywood]

I myself am a purest when it comes to operas. For example, I enjoy watching a Mozart opera performed in the original language as well as in the costumes of the period. Here in Austria there have been more opera performances where they have brought these operas into the 21st century, both in costumes as well as in the opera situations being acted out on stage. I personally can't watch these updated opera performances, but than that's just me. Some people actually like these versions and more power to them. But give me a 1791 version of Mozart's Die Zauberflöte and I'll be very happy indeed.

[Agnes Selby]

I myself am a purest when it comes to operas. For example, I enjoy watching a Mozart opera performed in the original language as well as in the costumes of the period. Here in Austria there have been more opera performances where they have brought these operas into the 21st century, both in costumes as well as in the opera situations being acted out on stage. I personally can't watch these updated opera performances, but than that's just me. Some people actually like these versions and more power to them. But give me a 1791 version of Mozart's Die Zauberflöte and I'll be very happy indeed.

You are not alone, and although I don't mind the translation of the text, I do not like the "modern" adaptations.

[Quijote]

[...]I prefer to listen to operas at home, and imagine myself the place where it all is happening according to the instructions in the score.
I almost would concur with Boulez: burn down those opera houses

Bien dit, Pierre. Anyway, I note there are strong feelings out there regarding the various mises en scène. I really have no comment about whether or not these are "butcherings", but it strikes me that they keep the newspaper reviewers in employment and keep the operas in the public forum and prove that the opera culture is alive and kicking.
May I ask you all to suggest your own mises en scène for your preferred opera(s)? Let's start with Beethoven : Fidelio. Propose me a new (and hopefully original but not pornographic) stage setting that would make me want to part with in excess of 80+€ rather than stay in and put on the CD.

[Quijote]

Please read:
http://www.city-journal.org/2011/bc0824hm.html

I did. It struck me as the usual run-of-the-mill conservative stance, even though I may not particularly admire Guth's oeuvre in general.
I also note that the Right Wing Watch organisation takes a dim view of the City Journal's owners, these being The Manhattan Institute for Political Research, an undoubtedly conservative think-tank.

[Quijote]

I'm not at all surprised Agnes - what matters to these people is their own agenda (usually politically motivated), certainly not Mozart. They think they are so clever the more they try to shock you, well I'm not shocked, only amazed that people actually will pay a lot of money to watch the tripe.

Hmm, the usual "Headmaster" response, which is perhaps a reflection [or refraction?] (via one of the other sides of the prism) of my own. I haven't seen the production in question (I have only read the article proposed by Agnès), so perhaps I had better keep schtum, so to speak.
In any case, I must admit to taking a certain pleasure in reading the usual "shock, horror, scandal..." tone of such postings à la Selby.

[Agnes Selby]

Hmm, the usual "Headmaster" response, which is perhaps a reflection [or refraction?] (via one of the other sides of the prism) of my own. I haven't seen the production in question (I have only read the article proposed by Agnès), so perhaps I had better keep schtum, so to speak.
In any case, I must admit to taking a certain pleasure in reading the usual "shock, horror, scandal..." tone of such postings à la Selby.

That is interesting. I thought this was all about opera and not about
right or left wing politics. And, what "shock, horror, scandal..." posts of
mine are you referring to? I don't post here often, so I can't imagine
what posts you are referring to.

[Megan]

Err..... yes, I think Philip got his tentacles in a twist Agnes!
We must make allowances.