There are 7000 seats and a Seebühne (a floating stage) on Lake Constance at the Bregenzer Festspiele (Bregenz Festival in Bregenz, Austria). Verdi’s “Un ballo in maschera,” in 1999, was performed on a giant book being read by a skeleton.

From the Telegraph via Twisted Sifter via (speaking of nudie photos) Fred Lapides.

Location and date: Café Iruña, Pamplona, Spain—May 7, 2010. Ensemble: Asociación Gayarre Amigos de la Ópera de Navarra. Music: Libiamo ne’ lieti calici, from Giuseppe Verdi’s La Traviata.

A delightful excerpt from a superb performace by Marc Minkowski and the Musiciens du Louvre of Jean-Philippe Rameau’s comic opera Platée, written to a libretto by Adrien-Joseph Le Valois d’Orville as part of the entertainments for the wedding of Louis, Dauphin of France, son of King Louis XV of France, to the Infanta Maria Theresa of Spain at Versailles on March 31, 1745.

In order to cure Juno of jealousy, the gods plot a joke marriage of Jove to the homely water nymph Platée. Mireille Delunsch performs with exceptional panache the famous aria in which La Folie (Madness) attempts to warn Platée by recounting the story of Apollo and Daphne.

Dedicated on Facebook by the gallant Constandin to the fair D.L.

A group calling itself L’Ópera para principiantes (“Opera For Beginners”), last November, placed singers among the stall vendors in the Central Market of Valencia, then started the music and astonished and delighted shoppers as professional performers emerged, one after the other, singing first Parigi, o cara, noi lasceremo (“Dearest, we’ll leave Paris”), the moving duet from the final act of Verdi’s La Traviata, then the famous chorus Libiamo ne’ lieti calici (“Brindisi—a drinking song”).

6:31 video

From Bird Dog via Karen L. Myers.

Albert Gore’s life at college was reputedly the inspiration for Erich Segal’s Love Story. One would think that would constitute enough artistic immortality for anyone, but, no! The horror, the horror….

London Times (6/8):

La Scala in Milan has commissioned a musical version of An Inconvenient Truth, the apocalyptic eco-documentary presented by Al Gore, the former American vice-president.

Gore will be replaced on stage by a cast of tenors and at least one soprano as the story of man-made climate change is told. ...

The music is being written by Giorgio Battistelli, whose past operas include works based on the Frankenstein story and on the writings of Jules Verne. The composer believes an operatic treament of Gore’s film will allow people to see the dangers facing the world in a new light.

“Opera makes you reflect. Artists make you see things differently,” he said. “When we see a painting by Francis Bacon or a film by Sydney Pollack, we get a very precise idea of the problems of our century.”

The work is scheduled to be performed in 2011 as part of the 150th anniversary of the unification of Italy. “I thought it could be a good idea to deal on this important occasion with a subject that involves not only Italy but the world,” Battistelli, 55, added. “It will be about the tragedy of our present situation. It is a great challenge to write an opera on such an unusual subject. It is certainly not the story of Romeo and Juliet.”

Even the New York Times’ John Tierney is moved to satire.

Dear Mr. Gore,

Thank you for sharing your thoughts on my draft of “Verità Inconveniente.” Rest assured that I and the management of La Scala are committed to a serious presentation of your scientific work. I will try to adopt some of your suggestions, but I hope you appreciate the constraints faced by the composer of an opera that is already five hours long.

I agree it would “round out the résumé” of Prince Algorino in the opening scene if he were to sing about his creation of a communications network. But the “Mio magnifico Internet” aria you propose seems to me a distraction — and frankly out of place in an 18th-century Tuscan village. I believe the peasants’ choral celebration of Prince Algorino’s wisdom suffices to establish his virtues.

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Hat tip to Karen L. Myers.

Contemporary European culture will be manifested in all its glory later today when a new production of Verdi’s Un ballo in maschera opens in Erfurt, Germany.

Telegraph:

A German opera house is to unveil a provocative new production staged in the ruins of New York’s World Trade Centre.

It features naked pensioners and Mickey Mouse masks, Hitler salutes and Elvis impersonators.

The self-consciously outrageous September 11th staging of Verdi’s ‘A Masked Ball’ has been dreamed up by Austrian director Johann Kresnik.

He has described the concoction as a populist critique of modern American society, aimed at showing up the disparities between rich and poor, which attracting a large audience.

It will be a different, a provocative masked ball on the ruins of the World Trade Centre,” he told reporters before Saturday’s premiere. “The naked stand for people without means, the victims of capitalism, the underclass, who don’t have anything anymore.”

Rehearsals suggest that Mr Kresnik’s anti-capitalist staging is unlikely to be celebrated for its subtlety.

Some of the cast are dressed in soldiers uniforms, or in the red white and blue of Uncle Sam, or in day-glow pink Elvis costumes, slashed to the waist. Many, however, appear to spend their time on stage not wearing anything at all.

They include dozens local pensioners, recruited by the opera house in Erfurt, eastern Germany, to appear naked wearing nothing but plastic Mickey Mouse masks.

“It’s a very beautiful, poetic scene,” said Guy Montavon, the theatre’s general manager.

He said that 60 eager amateurs were keen to appear naked before an audience for the premiere, but only 35 made the final cut.

The staging deliberately toys with images that are extremely sensitive both in the US and Germany.

Foreign audiences may find naked singers cavorting in front of the iconic ruined mesh of World Trade Centre metalwork most provocative.

In Germany however, a female singer with a painted on toothbrush moustache performing a straight arm Nazi salute appears particularly conceived to outrage.

The original 1859 production of the opera was sadly impacted by Roman censorship, which forced the change of the opera’s setting from 1793 Sweden to colonial Boston, and reduced the rank of the assassinated ruler from king to colonial governor. One has to hand it to Herr Kresnik. He succeeds in making one feel that there is a definite place in Europe these days for some old-time Roman censorship.

The recent frequency of angry Islamic mobs pouring into the streets, mullahs making death threats, and hirsute ruffians demanding apologies has made Islamic rage awfully tiresome, but at least in the case of Berlin’s Deutsche Oper production of Idomeneo by vandalizing Opernregisseur Hans Neuenfels, they may be on to something.

One can tolerate anachronistic settings and surrealistic stagings, but if some blithering nincompoop transmogrifies an opera’s plot into the precise opposite of the original’s, I feel a modicum of intolerance myself, my own hand itches for a sharp Khyberee.

When today’s liberal cultural elite want to praise one of their favorite pieces of artistic bogosity, they usually apply terms like “transgressive” and “courageous.” It is instructive to observe how rapidly artistic “courage” vanishes and “transgression” retreats, when the whiff of an actual threat is in the air.

Time reports:

Neuenfels’ production, first staged in 2003, is intended to be a symbolic gesture about the dangers of fanaticism. Although the production caused barely a ripple, except to impress the critics in its earlier showings, the climate has changed since then.

In July, Germany’s state police in Wiesbaden said they received an anonymous telephone call from a woman expressing concern that the opera, due to be staged this fall, could offend Muslim sensibilities. A subsequent study by Berlin police found that it could not “exclude the possibility” that something bad would happen, noting that decapitation could be associated with the videos distributed by militant terrorists. Berlin senator, Erhart Körting telephoned the Deutsche Oper’s artistic director Kirsten Harms to recommend that she cancel the show because he did not want harm to come to the opera house. Harms agreed, hastily convening a press conference this week in the cavernous lobby of the modernist Deutsche Oper to announce that future performances would pose “incalculable risks” to the public.

Today, Germany’s Chancellor and Interior Minister, and Berlin’s mayor are all decrying the surrender, and demanding the production’s restoration to the Berlin Opera’s schedule. It will be interesting to see just how long their courage lasts. And it’s a such a pity that the object eliciting the uncharacteristic display of European backbone is not something more worthy of defense.