Steve Schwartz:

>I don't believe so, although Mr. Webber can speak for himself.  I believe
>Mr. Webber is saying that a libretto can be set several ways by different
>composers.

But that doesn't say anything about the staging of the opera.  Sure, the
music could have been different, but I fail to see why that enables the
producer to assume it was different.

>Perhaps because acting depends more than the others on the illusion
>of reality, which changes far more rapidly than musical conventions.
>Furthermore, the point about Shakespeare is particularly inapt.
>Shakespeare performed in Elizabethan style and pronunciation is pretty
>much unlistenable.  Indeed, it hardly sounds like English.

But the language as written ist not changed, is it?  It is only the
pronounciation, right?  Of course HIP performances don't recreate the
sound of what Handel really heard.  But they try to give an approximation
that is understandable for us today.  That is what we do with performing
Shakespeare - without translating it more than absolutely necessary.

>The question can be turned around: why does the drama need to remain in
>the original place and time.

But this is easy to answer: because otherwise it doesn't make sense.
The libretto of Lohengrin refers to Brabant and the Scheldt.  The staging
of the opera in a concentration camp (or wherever) thus contradicts the
text.

>However, to dismiss "director's opera" out of hand seems a bit limiting.

If the director would stick to the work, I'd agree.:)

>Unfortunately, audiences seem mainly concerned with the vocal
>and orchestral exhibition.  One thing "director's opera" tries to do,
>even if it doesn't always succeed, is to put the emphasis on drama,
>rather than on pretty or powerful sounds.

Excellent point.  I even agree that the "vocal and orchestral exhibition"
is secondary.  But the staging is secondary too.  What opera IMO is
about, is the dramatic thrust of the three forces UNITED.  And lastly,
my very very serius question is, why it is impossible to give the dramatic
aspect of opera the necessary weight without contradicting the text.
I'm sorry, but so far you (pl.) couldn't offer a reason that made me
stop thinking that it is essentially the ego of the producer.  But I
remain in hope for an answer.

Jan