Opera’s willingness to work with high-profile film directors may be beneficial to its growing cinema audiences but is it putting the artform’s soul at risk, asks Stuart Jeffries.
At the end of Robert Lepage’s 2012 production of Götterdämmerung for New York’s Metropolitan Opera, Brünnhilde called for her horse Grane. A puppet animal with a bouncing head was brought on stage. It looked, as one critic put it, like “nothing so much as a mechanical bull in a country-western bar”. Undaunted, our heroi... Keep reading on The Guardian
At the end of Robert Lepage’s 2012 production of Götterdämmerung for New York’s Metropolitan Opera, Brünnhilde called for her horse Grane. A puppet animal with a bouncing head was brought on stage. It looked, as one critic put it, like “nothing so much as a mechanical bull in a country-western bar”. Undaunted, our heroi... Keep reading on The Guardian