IN OCTOBER, I briefly wrote about the Metropolitan Opera’s new production of Giacomo Puccini’s Tosca by Swiss director Luc Bondy, who succeeded in desecrating this lush tragedy with pornographic gestures and swipes at Christianity. If you recall, Bartlett Sher, director of another Met production, subsequently called the act of booing, which had been freely engaged in by fans at the Tosca opening, “a self-interested expression of ownership.” Bondy sniffed, “I didn’t know that Tosca was like the Bible in New York.”
For those interested in a more thorough examination of the production with similar criticisms, I recommend Daniel B. Gallagher’s piece in the Catholic magazine, New Oxford Review. (It costs $1.50 to read in its entirety.)
And, in today’s issue of The Brussels Journal, Thomas F. Bertonneau, a commenter at TH, examines recent productions of Hector Berlioz’ Les Troyens, an epic based on Virgil’s Aeneid. Berlioz’ heroic themes are also transformed by postmodern nullity. Bertonneau looks at a production by conductor Sylvain Cambreling and scene-designer Herbert Wernicke in which the Trojan soldiers are dressed in what appear to be Nazi uniforms. Bertonneau writes: (more…)