David Lister: We shouldn't be horrified by a change of direction
Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.Prepare to be shocked if you go to the English National Opera at the moment. In Don Giovanni there is a gang rape by a group of masked men wearing Jesus Christ T-shirts. In a new opera, A Dog's Heart, there are four-letter words. Down the road at the Royal Opera House the recent production of Rigoletto included rape, oral and anal sex and much else that Verdi never envisaged.
Opera productions have had a shock factor for some time. But there is now an added thrust, and an added pleasure, in that more and more theatre directors are being encouraged to try their hand at opera. Don Giovanni is directed by Rufus Norris, a leading light in contemporary theatre. A Dog's Heart is directed by Simon McBurney, who, with his company, Complicite, produces the most imaginative theatre to be found anywhere.
Other theatre directors such as Katie Mitchell and Rupert Goold are bringing new approaches to classic operas, as are film directors such as Sally Potter, who was hired by the ENO to direct Carmen.
In the final analysis, the shock factor is a success only if it illuminates understanding of the piece, as it does in showing the seediness and exploitation of the court in David McVicar's Rigoletto.
Opera should never be seen as too sacred for experimentation, re-interpretation or a radical rethink. And it should continue to use the best and most imaginative directors. Shock for its own sake will always be rumbled, but being shocked into a deeper understanding of a work is something that most adult audiences appreciate.
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments