Alexandra Coghlan

Fifty shades of grey

But David Bösch’s Il trovatore didn’t know whether to take the plot seriously or send it up

issue 09 July 2016

Grey men in grey overcoats walking through grey architecture. If you had to pick an image to reflect the current mood, the prevailing fashion in opera productions, this would be it. We may have outgrown the overtly Nazi settings of a few years back, but stepping into their highly polished boots are a whole platoon of non specifically fascist, 20th century exilic fantasies — all brutality, brutalism and barbed wire.

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