There’s been a lot of talk recently about whether or not it’s legit to change text, music or dramaturgy for problem operas like Madama Butterfly.  I get pretty frustrated by this because it happens all the time in Europe, especially in the German speaking countries, a fact which seems to escape the notice of many involved in this debate.  Usually it’s the dramaturgy that gets changed.  Changes to the music are rare indeed and, traditional playing with operetta dialogue aside, the libretto usually doesn’t change.  And, of course it’s not just “problem operas” that get the treatment.  Today I’m going to write about a “concept” production of Weber’s Der Freischütz recorded at the Vienna State Opera in 2018.

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