It is sometimes disgusting to see operas played in American theaters. It is known and it is unfortunate that the American public consciousness brewed on the mix of puritanical hippocratic absurdity mixed with the condemnations of Jewdaic-Christian morality. Yes, we Americans use the “prostitution on sexuality” for everything: form election of a President to promoting a new brand of toilet paper. However, it is VERY sad to see how our completely absurd “western” fear of sexuality screws up our operatic scene.

I do not think that today’s American singers, conductors or orchestras are particularly bad. However, what we could not escape is out own American “oversexism of undersexism” that consumes out operas as cancer’s metastases consume a healthy body. I refer to the laughably overly “steamy” staging and acting of the classical opera repertoire on US opera houses.

It is unnecessary to walk very far for the examples. The Puccini Tosca in Boston. The staging and the acting of the actors all centered on the idea that Tosca runs across the entire 3 acts with only one objective to jump in bed with Sacristan. The question "At what price?" gloriously amplified by the entire crew of actors, choreographers and stage directors and Tosca’s jumping into the Sacristan’s bed become an absolute culmination of the entire opera. If you have seen the faces of those actors and the Tosca’s testing with her hands the firmness of the Sacristan bed then you would understand why I would not be surprised if the Sacristan would sing right the way an aria about the benefits of  a save sex. The ''Carmen” in Cambridge, juts across the river. The way in which the opera was staged, converts the opera from a quest for freedom and liberation into an idiotic moral tale how God punishes women if they behave sexually predatory. What a twist!!!  The “Eugenie Onegin” in Boston; theater district. This opera absolutely killed me. I was hardly holding myself in order do not blast the entire theater with a loud giggle in the end of the second act. In the end of the opera when Onegin has his last duet with Tatyana Larina and when he realized that he loved her but she rejected him then what do you think they do? You right: they together DISASSEMBLE a huge bed that sits right in the middle of the stage (in fact there is no other decorations on the stage beside that bad).  During the entire two sets of the duets (before and after Tatyana let Onegin to know that she still love him) she jumps on and out of that bed, waving her butt (!!!), reacting to the Onegin words and contemplating what she should do. In the end when her realization of herself as a married women took place (according to the cretins who staged this scene) she refused the Onegin’s pressings.

Come on, get real. It is IMPOSABLE to watch operas when the CRAP like this is taking place on the stages. I found myself that I frequency close my eyes during the operas in order do not see that foolishness. When I do so, I wonder why did I even spend those $100 if I have a wonderful FM radio home where I would have a privilege do not see that“Americanization of opera”?

I wonder if is it only in US or that is the word-spread pandemic?

Rgs,
Romy the Cat