Gripped by and in the throes of the spirit of "I'm mad as hell and I'm not going to take it anymore", Early Music critic Brian Robins aims an unrestrained but still eloquent Jeremiad at Eurotrash (Konzept) Regietheater (although, as a European, he understandably does not use the term Eurotrash) on his website Early Music World. Money-quote:
How have we allowed this to come about? How has one of mankind’s most glorious achievements [viz., opera] fallen into the hands of this freakish band of directors that seeks only to demean the form in its own narcissistic, solipsistic image? How have we come to be beholden to such as one of the most outré of this ill-begotten breed who can trenchantly assert that he is ‘faithful to Mozart’, a claim that carries as much validity as would Richard Dawkins declaring he is faithful to God? It is my firm conviction that no part of the operatic world, from administrators, to conductors, to singers, critics and audiences can escape censure.*The essay is well worth one's time reading in full. (Our thanks to Opera-L member Peter Bollard for the above Early Music World link.) * To which compare our,
And what sort of respect should be shown singers and musicians — the sine qua non (literally) of an opera performance — who were too cowardly to adamantly refuse to take part in such butcheries? That's right. None at all. They deserve to share the full weight of our censure along with the butchers initially and ultimately responsible for the butchery.