Moser’s statement is not only a reality call, but also a hot shower that flushes all the inanities, incomprehension, fallacies, self-centered vanity, ludicrous actualization, contemporary snobbery and quasi-progressive libretto beliefs down the shower drain.
Vague modernism coupled with psychological groupthink and underpinned by shocking ignorance and a fierce desire to be part of an imaginary cultural elite.
An unprecedented low point was the unsanitary travesty “Der Freischütz,” performed in 2022 at The Dutch National Opera, prepared in the moldy cooking pot of greaseball and narcissist Kirill Serebrennikov, who seems destined to become house director at DNO.
“We gaan niets actualiseren, want dat vind ik een onderschatting van het publiek.”
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.
Lynn: “After 10 months of intense work, I have finally finished my new book, “Opera as Drama II,” which illuminates the history of the art form from the perspective of drama rather than entertainment.”