Artistic directors think only in terms of ‘stars’ to hire, and audiences turn up enthusiastically to hear a successful performer, regardless of the piece being performed. In opera, the situation is even more peculiar, as the attraction is often the stage director themselves. They try (in my opinion, clumsily) to rekindle interest in productions that seek originality in staging through modernizations, abstractions, and reinterpretations.
Opera. Entertainment for tourists? From this point of view, unfortunately, the genre is increasingly in danger of being reduced to “entertainment for tourists”, a category that already represents a significant part of the audience, especially in arenas. This is a sad prospect, considering that in 2023 the art of opera will be proclaimed an “Intangible Heritage of Humanity” by UNESCO.
Are we addicted now ? We must also consider the impact of “regietheater” and the fanaticism of “political correctness.” These are two forces that are transforming the world of opera. In the name of “political correctness,” every possible reference to anything that does not conform to the new doctrine is modified or eliminated. We are seeing more and more often “Aida” with light skin, Turandot who avoids any possible reference to China, changes to terms in the libretto considered racist, and so on.
All in all, Emma Dante’s direction is acceptable. She limits herself to following the story without trying to force the libretto in search of extravagant readings.