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.

People in Savannah commonly point out that Sherman burned Atlanta, which proves there’s good in everybody.

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.