CommentMay08 - Page: 1 of 1

Nudity isn’t new to opera. The last time we came close to legitimate nudity in opera here in the states was in 2004 when the Met featured Karita Mattila in the role of Salome, peek-a-boo style when she danced the Dance of the Seven Veils in Strauss’ “Salome.” It caused a sensation, sold a ton of tickets, and was a critical success.

In 2007 audiences at the Wagner Festival in Bayreuth were shocked when Wagner’s granddaughter staged “Die Meistersinger” featuring gratuitous nudity and plastic phalluses on stage as props. I doubt her granddaddy would have appreciated that.

More and more companies, especially European, mostly German, are willing to hire directors eager to explore the use of nudity and, in not a few cases, outright vulgarity to attract larger opera audiences. If you can’t direct creatively to get attention, be vulgar, seems to be the mantra.

This season Austrian director, Johann Kresnik staged Verdi’s “A Masked Ball,” in a German opera house in Erfurt. Ticket sales were brisk for the opening as audiences flocked to see Verdi’s work transformed and modernized. It’s doubtful the audience expected what it got, however, as dozens of retired pensioners, wearing nothing but Mickey Mouse masks, frolicked nude on stage, cavorting their bulges, sags and shortcomings for all to see. Yes, the human body is beautiful, a work of art, actually; but, really, must we go so far over the edge?

As with most self-absorbed director’s with little talent or artistic imagination, Mr. Kresnik, managed to cram into this opera elements of a strong political message: anti-Americanism, the World Trade Center destruction, Hitler, and desecration of the flag and other patriotic symbols. These touches were necessary, he said, “to attract new theatergoers.” Really?

I don’t know about you, but I am tired of listening to the rationalizations from immature and borderline talented directors and their supporters in the press who see the medium of opera as a personal vent for their anger, insecurity and vulgar anti-social rants.

I’m surprised more opera houses don’t see what’s going on and move quickly to get these directors under control as soon as it's learned what they intend. And the problem isn't limited to stage, either. Is there any excuse for Peter Sellers' ludicrous "Giulio Cesare," recently released on DVD. Oh, the humiliation to singers. I often wonder why they put up with this nonsense? And worse, just about anything Calixto Bieitro does is excruciatingily offensive. Eduardo Benarroch, writing in "Musical Opinion" last year noted that, “his name [Bieitro] alone brings out the worst from the national press and his two ENO productions, Verdi's "Un Ballo in Maschera" and "Don Giovanni," apparently served to bring down their capable General Director, Nicholas Payne.”

Could opera be souped up, some? Sure!

Would audiences enjoy seeing some nudity employed in certain contexts in certain operas? Sure, why not? Judging from the audience reaqction and ticket sales when its done right, it's a no-brainer.

Somewhere between sophomoric teases and outright vulgarity exists a happy medium. Indeed, I have often felt that one of the most underrated operas, Carlisle Floyd’s “Susannah,” would benefit tremendously from a sexier, sensual, albeit innocent, Susannah, with a touch of nudity, properly staged. And God-knows, Andre Previn’s dreadful, “Street Car,” could benefit from steamier staging, if for no other reason, than to distract us from a horrible score. Indeed, Opera Boston’s brilliant staging of “Mahagonny,” another musically deficient opera, literally sizzled off the stage, because of a stage director, Sam Helfrich, who saw the value of exploiting the sensual theme with sexy performances.

Today's young, more fit and talented singers have both the voice and physiques to pull it off.

It just troubles me that those who produce opera either don’t see the difference between producing more realistic, sensual productions, and producing vulgar, offensive, politically-laden ones. That we have to point out that there is a difference, should be troubling enough to those of us who enjoy the medium.