The Eurotrash-besotted MSM music critic James Jorden (aka "La Cieca") posts on his blog Parterre Box a thoughtful and intelligent apologia for the confused, Brechtian grotesquerie that is Frank Castorf's Bayreuth Eurotrash (Konzept) Regietheater staging of Wagner's Der Ring des Nibelungen; an apologia that tacitly and unquestioningly accepts the premise that an opera director has no obligation to the original opera or to the concept and vision of the original creator of that opera but is perfectly free to use both as he/she sees fit in a new creation of his/her own making that hijacks for its own use and purpose the original opera's title and the original opera creator's music and text. Entirely foreign to such defenders of Eurotrash is the idea that an opera director's job — his sole job — is to realize onstage, in the most vivid and compelling manner possible, the opera creator's concept and vision of the work as made manifest in the score (music, text, and stage directions) and that anything beyond or other than that and the opera director is operating in territory in which he has no business being much less messing about with. Unhappily today, the growing acceptance by MSM music critics of the anything-goes-that-I-want-to-go director's approach to opera is fast becoming as much an evil and danger as Eurotrash (Konzept) Regietheater itself. No surprise given our postmodern cultural Zeitgeist, actually. And so it goes.