In this week's issue of The New Yorker, in a piece titled "Shock Tactics", New Yorker classical music critic Alex Ross writes:
[T]he injection of a mild strain of Regietheater [in opera stagings in American opera houses] ... is a healthy development because it forces American audiences to see opera as something other than a nostalgia trip. [...] [I]t's because we endlessly repeat the same old pieces that we feel the need to reinvent them in ever more drastic fashion.Yes, well, certainly an interesting view of the matter. Consider, however, that by that same sort of reasoning it might be "a healthy development" if American symphony orchestras did away with repeating year after year performances of, say, those same old Beethoven symphonies the way Beethoven wrote them and instead reinvent them just a bit by injecting some orchestration or other that never occurred to Herr Beethoven such as, say, kazoos in place of bassoons; or, say, slide whistles in place of flutes; or, say, musical saws in place of violas. After all, if that were done, American audiences would surely be forced to see those symphonies as something other than nostalgia trips. Yes indeed. They most assuredly would.