Turandot. I love traditional productions as much as the next fellow, but I take Regie productions one at a time. Claus Guth’s Freudian look at Salome was the most potent and disturbing iteration of that opera I’ve ever seen, while the Met’s Carrie Cracknell-conceived Carmen is absolute junk – no Spanish flavor, and a second act that takes place in a moving railroad boxcar! If the audience is puzzled or disgusted, you’re doing something wrong. Worse, even, was Simon Stone’s Lucia di Lammermoor, now taking place in a run-down town in the American rust belt, peopled by drug addicts and cameramen filming the action. Wretched.
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