Do I see Rose from the Golden Girls there?
A new production of Verdi's Un ballo in maschera in Erfurt. According to an article in the Telegraph, This “different . . . provocative” staging of the Verdi warhorse sets the tale of political intrigue “on the ruins of the World Trade Centre.”
As
"It’s a very beautiful, poetic scene," said Guy Montavon, the theatre’s general manager.
He said that 60 eager amateurs were keen to appear naked before an audience for the premiere, but only 35 made the final cut.
The opera is apparently full of 'little moments', such as when Kresnik delivers the classic Verdian image of Mickey Mouse beating up on Drag Hilter. There is nothing left of Verdi except the music, and that by sheer miracle.
I wonder what is next for Kresnik-- ”Traviata”…staged taking place at Auschwitz?
I can only say this: Vergognatevi tutti!
“The victims of Capitalism?” Kresnik must mean anyone who is within earshot as he does not only laugh but squeal his way to the bank, cashing in on the superfluous controversy stirred up by his sad excuse of an artistic attempt. Unless, of course, anti-capitalistic Kresnik isn't charging anything for his 'ideological stance' which would mean he is consistent with what he wishes to espouse.
Yet somehow I do not think that is the case. I wonder why?Adding a subtext that did not exist in the opera in the first place merely to stroke one’s own two-inch ego (and other parts) is a feat worthy of a second-hander who doesn’t have the talent to work with what subtext *is* there, who has to make up bizarre ‘concepts’ in order to actually do something. It is obvious that Kresnik is a second-hander extraordinaire, and the only reason he gets away with things like this is because of the predominance of the absurdity and idiocy of post-modernism and the even more idiotic self-proclaimed “post-post-modernists” that are cropping up all over the place.
I shall make a note to warn my future agent that, were ever to book me for such atrocities, he should expect me to castrate him with a melon baller.
Too many opera singers are afraid to say "no" to these conceited, self-inflated no-talent hacks because they're afraid it will affect their careers negatively. I think this ought to end now, singers should not have their careers be held at gunpoint by slobs that have no artistic integrity. Even if it means reviving the stereotype of the temperamental diva- but someone has to say to these butchers "You have crossed the line", and it should be those who have to suffer from it the most: the singers.
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I can live with Kresnik taking stereotypical jabs at the USA and making sweeping ideological statements (even if I disagree with them). Americans make fun of Europeans and make sweeping ideological statemens right back at them, and I generally don't care enough to be more than mildly annoyed by either. The arbitrary and unnecessary use of World War II and the World Trade center for what I assume is shock value offends me, but once again I'd have to actually care about Kresnik's opinions for it to really make me angry. I am, however, truly disgusted that he would do this to a classic opera. Verdi's work stands on its own merits, and does so without needing to be "updated" or made "edgier" by some attention-seeking hack. If he wants to make a personal statement or cry out for attention, let him do it with his own work instead of corrupting Verdi's. Oh...right. That would require him to have enough talent and motivation to make something of his own. From what I've seen, he's disrespecting Verdi's talent (and tarting it up like a cheap whore), disrespecting his singers' talents, and wasting his audience's time.