# Maazel on Regietheatre



## DavidA (Dec 14, 2012)

Lorain Maazel speaks for many I think:


THE FALLOUT – Opera Staging Madness
I’m told some half a million people have read my comments carrying the title ‘Opera Staging Madness.’
Many people are grateful for the voice given their frustrations and disaffection. Most revealing are the comments I have received from singers who have borne the brunt of the excesses of stage directors.
Singers devote their lives to an art form that to a great degree depends for its very survival on that devotion. Much too often, they are ‘directed’ by stage directors who are insensitive to an important element in the Gesamtkunstwerk called opera, the music, are ignorant of the historical frame of the plot and disrespect the genius of both librettist and composer. Second-guessing Da Ponte or Verdi can only lead to a futile flailing about.
General Managers must seek to reinforce the art form of which they are caretakers by engaging those who believe in it. Every art form, to survive, must be refreshed by innovative, truly inventive approaches. One need not desecrate it in the process.
So many readers feel disenfranchised by the inept and inappropriate staging. They are happy to hear that the audience does have the last say. The abused casts would so welcome the singers’ true voice being heard .
So…don’t be reticent.
If you feel seeing Desdemona urinate doesn’t help you better to comprehend the subtleties of her spirit, speak up on YouTube, walk out (quietly), tell your friends. If you find seeing Don Jose’ playing a video game as he blow-torches Carmen doesn’t give you a deeper insight into his mindset, speak out on Twitter, walk out (quietly), tell your friends.
Good luck.
Opera needs your help…and soon!
-Lorin Maazel


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## tyroneslothrop (Sep 5, 2012)

DavidA said:


> Lorain Maazel speaks for many I think:


And do you think Regietheatre is legitimate then?


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## DavidA (Dec 14, 2012)

tyroneslothrop said:


> And do you think Regietheatre is legitimate then?


I think that directors have a primary responsibility to interpret what the composer actually wrote on stage and not some half-baked idea they out of their own heads.


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## tyroneslothrop (Sep 5, 2012)

DavidA said:


> I think that directors have a primary responsibility to interpret what the composer actually wrote on stage and not some half-baked idea they out of their own heads.


The works are out of copyright, so they have a primary responsibility only to their audiences. If there are no audiences, then they won't take such liberties any more. Unfortunately, Calixto Bieito, and other such shock opera directors, still packs it in, so he/they can do what he/they will. I think we all have primary responsibility to not support opera productions that we don't like with our wallets.

There are people who are very selective when it comes to defining and taking objection to _Regietheatre_ though. If one says that the *golden rule* is to _"interpret what the composer actually wrote on stage"_ then by this definition, most productions of Wagner's operas (including any production of _Parsifal_ outside of Bayreuth) are _Regietheatre_. Then also, although Wagner was probably among the most exacting with regards to staging, many other composers wrote staging directions that are also mostly ignored by contemporary directors, both _Regietheatre_ and non-.

Many people rationalize the productions they don't like as "Regietheatre" and the ones they like as not. As a volunteer representative for Met Opera, this was brought home to me a number of weeks ago during the Live in HD encore of the Met's _Rigoletto_. Having solicited feedback on Met Opera productions, an audience member complained about _Regietheatre_ productions, I pointed out that this particular production of _Rigoletto_ (1960's Rat Pack) is also _Regietheatre_ (coincidentally, the director, Michael Mayer, had never in his life directed an opera before). This particular gentleman speaking to me declared that I was wrong, as this new _Rigoletto_ was simply "updating" and not _Regietheatre_ since the director didn't change the composer's intent. Well all I can say is !


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## MAuer (Feb 6, 2011)

I think we've become so accustomed to unusual productions that we now view as essentially traditional any staging that doesn't make fundamental changes to the characters' personalities or turn the opera's ending on its head.


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## tyroneslothrop (Sep 5, 2012)

MAuer said:


> I think we've become so accustomed to unusual productions that we now view as essentially traditional any staging that doesn't make fundamental changes to the characters' personalities or turn the opera's ending on its head.


I'd agree with you, though based on Maazel's posting on Saturday, I'm not sure he'd agree with you as he seems to be defining _Regietheatre_ as also being outside the composer's preset historical frame:


> Much too often, they are 'directed' by stage directors who are insensitive to an important element in the Gesamtkunstwerk called opera, the music, *are ignorant of the historical frame of the plot* and disrespect the genius of both librettist and composer.


Note though that today, Maazel added to his Saturday remarks saying:


> My comments regarding excesses in some Regieoper productions have again elicited a spirited response. Seems many are grateful that the subject has been raised.
> 
> One comment, however, questioned where I might be coming from, suggesting that I what I've written might be the ranting of an old man.
> 
> ...


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## Mahlerian (Nov 27, 2012)

Why does Maazel still think people care about the opera he wrote enough to bring it up in a discussion alongside the masterpieces?


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## tyroneslothrop (Sep 5, 2012)

Mahlerian said:


> Why does Maazel still think people care about the opera he wrote enough to bring it up in a discussion alongside the masterpieces?


I believe he is only using it to show that he is not against contemporary aesthetics in opera altogether, just when it is contrary to the composer's or librettist's intent. Besides, didn't he put one more performance on in Paris two years ago?


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## mamascarlatti (Sep 23, 2009)

Actually I enjoyed that LePage production of 1984. I wouldn't listen to it, but it was quite a good watch.


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## tyroneslothrop (Sep 5, 2012)

mamascarlatti said:


> Actually I enjoyed that LePage production of 1984. I wouldn't listen to it, but it was quite a good watch.


I've only watched the 10mins or so on Youtube--the overture with all the hating going on. Is this DVD worth getting? _(My UWP is very large. LOL.)_


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## mamascarlatti (Sep 23, 2009)

tyroneslothrop said:


> I've only watched the 10mins or so on Youtube--the overture with all the hating going on. Is this DVD worth getting? _(My UWP is very large. LOL.)_


Not top priority, but nice to have. (I might be the teeniest bit influenced by the presence of Simon Keenlyside in the title role). But then there is Diano Damrau as a truly terrifying gym instructor which is also a gem. The production itself is as well designed as LePage's Damnation de Faust. The music is very eclectic and serves the plot pretty well.

And NEVER let a UWP get in the way of further purchases!


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## deggial (Jan 20, 2013)

mamascarlatti said:


> But then there is Diano Damrau as a truly terrifying gym instructor which is also a gem.


oh, _that_ one! you know, I thought the music was pretty good...


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## tyroneslothrop (Sep 5, 2012)

mamascarlatti said:


> And NEVER let a UWP get in the way of further purchases!


I better not show this to my wife. She'd hate you for being in my corner on this and encouraging my "bad" behavior!


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## mamascarlatti (Sep 23, 2009)

We'll introduce your wife to my husband and they can moan about us. Although it doesn't stop him spending a fortune on his *&%$# boat.


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