A Nihilist at the Opera
The eroticism of this photograph of Finnish soprano Karita Mattila in the title role of the Metropolitan Opera's new production of Puccini's Tosca, one of the most beloved of Italian operas, gives you some idea of what it's like when one of today's hip nihilists takes over a traditional art form. This production was booed by Met fans on its opening night in September and after seeing it in a movie theater last night, I understood why. The sets are dark, sterile and chilling. The characters depart from the text and the whole thing is perversely sexual. It sneers at the famous romance of Tosca with pornographic embellishments. In Act I, Cavadorossi, the painter played here by Marcelo Álvarez, works on a towering canvas of Mary Magdalene that sits on scaffolding and dominates the church scene. In contrast to the previous production's historically faithful rendering of the sanctuary of an ornate Roman cathedral, the interior here resembles a bleak Soho warehouse, perhaps awaiting a few abstract paintings for decor. One of Mary Magdalene's breasts is fully bared. As the painter and his lover Tosca perform their sumptuous arias, an enormous looming nipple is visible in the background. Tosca, who takes a knife at one point to the canvas, seems mentally unhinged and sexually coarse (for a moment, she grips her lover between her legs). There is another blatant swipe at Christianity when the evil Scarpia takes a statue of the Virgin Mary in his hands and lewdly embraces it. Three whores are featured in Act II, characters who never appear in the libretto. One has…



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