A sometimes heated skirmish erupted on a venerable online opera forum during the past two weeks concerning the seemingly evergreen subject of "traditional" opera stagings versus Regietheater stagings the skirmish involving all the usual forum suspects on each side of the argument; a skirmish that began with this (relatively) innocent comment by Yours Truly in response to a post by another forum member:
Your list of production failures during Gelb's tenure may all have been ill-conceived or inept productions, and most (but not all) might be legitimately classified as Regietheater, but NONE of those productions could legitimately be classified as Eurotrash (Regietheater and Eurotrash are NOT synonymous terms; all Eurotrash is Regietheater, but not all Regietheater is Eurotrash). One of the remarkable things about Gelb's tenure is that Met audiences have been spared and saved harmless from the contemptible grotesqueries of Eurotrash, a pervasive malignancy that today infects opera stages worldwide. For that, at least, U.S. opera fans and Met operagoers ought to be grateful.My repeated use of the term "Eurotrash" in this and in my following posts in the skirmish and my contempt for such stagings provoked one forum member to label me a "narrow minded [person] who live[s] in the past" and another to declare me "a psychotic bigot". You know. All the par-for-the-course stuff as these skirmishes go and to be expected. As a participant in the skirmish, I at one point wrote the following concerning the distinction between Regietheater and Eurotrash:
Any staging where the director in some way or ways reimagines the original creator's vision and concept by, say for simple instance, moving the location and/or time of the action to a different place or period, is, by definition, Regietheater. The director has altered the original creator's instructions regarding those elements and substituted his own for whatever reason; good, bad, or indifferent. Only when the director substitutes his own VISION AND CONCEPT in place of that of the original creator's as made manifest in the score (music, text, and stage directions) does Regietheater descend into the malignancy that we today label Eurotrash, the very worst examples of the type being those where the director's vision and concept are, at bottom, a deconstruction of or critical commentary on the work to hand, a la, say (to use the current Bayreuth examples with which I'm most familiar), the Bayreuth _Parsifal_ of director Stefan Herheim, or the Bayreuth _Meistersinger_ of Katharina Wagner, or the Bayreuth _Lohengrin_ of Hans Neuenfels. These are all out-and-out Eurotrash and Eurotrash of the most malignant sort.I'd seen detailed written physical descriptions and voluminous production photos of the staging of the Parsifal and had seen the full productions of both the Meistersinger and the Lohengrin as both were streamed live on the Web by the Bayreuther Festspiele and so felt fully confident classifying them all as out-and-out Eurotrash although I confess that confidence was momentarily shaken (but only momentarily) in the case of the Neuenfels Lohengrin when I read with utter dismay and something approaching utter disbelief The New Yorker's Alex Ross declare that staging "an austere, elegant, darkly enchanting piece of theatre" and a "great Wagner performance" that "made a particularly deep impression" on him. Needless to say, that Eurotrash classification of mine didn't sit well with the Regietheater champions on this forum the chief of these even taking the trouble to give his take on Neuenfels's Konzept for the staging of Lohengrin. The take was quite intelligent, actually, but in making it this champion for Regietheater seemed totally oblivious to the fact that he was making not his case as a champion for Regietheater, but the case for Eurotrash Regietheater's most intransigent enemies among which I number myself. For whatever Neuenfels's staging of Lohengrin may be, there is one thing it most decidedly by any stretch is not: a staging of WAGNER'S Lohengrin. This Lohengrin is not Richard Wagner's Lohengrin but Hans Neuenfels's Lohengrin hijacking Richard Wagner's music and text for its own purpose, and that's a very definition of what it means to be Eurotrash. It also, at very least, makes the promoter and presenter of this production, the Bayreuther Festspiele, guilty of fraud. Would that it were a class of fraud actionable at law.