A.C. Douglas: It's NOT a matter of "taste". It's a matter of a Wagner staging being faithful to the FULL SPIRIT AND SENSE of Wagner's idealized dramatic and theatrical vision as made manifest in the score (music, text, and stage directions). Eurotrash Champion: I understand your point but this surely raises the question of just what that full spirit and sense actually is. I can't see that it *is* actually made manifest in the score. You speak as if it was an absolute, an unchanging almost tangible essence, something to be recognised and described and captured (or embodied, to use what might be a better term) in every staging, however that staging chooses to present it: whatever the frame, the picture stays the same. I'm not sure that's true. I think that the spirit and the sense differ, perhaps radically, from person to person and from age to age. I think the Lohengrin in question *is* true to what I see as the essence of the work. ACD: And there in a nutshell is the pernicious, sophistic rationale and justification put forward by *every* self-involved, self-serving, parasitic vandal for his (or her) Eurotrash (i.e., _Konzept_) Regietheater stagings. *Of course* the full spirit and sense of an opera creator's vision is made manifest in the opera's score (music, text, and stage directions). How could it not be? One would have to be willfully deaf and blind to not perceive it. And *of course* it's "an unchanging almost tangible essence, something to be recognised and described and captured (or embodied, to use what might be a better term) in every staging, however that staging chooses to present it." The opera's creator depends and is absolutely dependent upon his opera's producers, during and after his lifetime, to ensure precisely that. Any material change to the full spirit and sense of the opera creator's vision as made manifest in the score results invariably in another work altogether and always involves adding insult to injury by the necessity of the parasitic vandal having to hijack the opera creator's music and text to serve his (the vandal's) own "vision". I don't want to be misunderstood here. Once an opera's copyright lapses and the work enters the public domain it's perfectly fair game for opera directors to make of and do with what they will and the resulting new work judged on its own terms. What they may NOT do, however, is call, bill, promote, or otherwise represent their new show as a new staging of the original opera creator's show. To do so is to perpetrate a fraud; one that should be actionable at law. The "Rat" _Lohengrin_ is not by any stretch or twisting of fact Wagner's _Lohengrin_. It is Hans Neuenfels's _Lohengrin_ with Wagner's music and text hijacked for use for its own purpose the show then fraudulently represented as a new staging of Wagner's _Lohengrin_.