Some additions to the points raised here. First: Almost every online report about this matter is illustrated with the very photo that appears on the top of this article, too.

In regard to the Slipped Disc articles it is remarkable how it was this blog that first reported a possible cancellation. This must have been leaked out of Deutsche Oper am Rhein only to, as you put it, half a continent away, since I saw no mentions of this rumour in German or, more general, German-language places. This may say something about Deutsche Oper am Rhein or rather certain people working there, about the state of culture journalism in Germany or about both.

It is also worth to mention that a local newspaper (Rheinische Post) run a full-blown campaign which turned out to be a success. Some statements that got also quoted in English-language publications have been made when these gentleman have been asked by the newspaper for a comment.

Concerning the “strong psychological and physical reactions” being given as reason for the cancellation: Many here in Germany think that such concerns could be considered in other ways. Audiences could have been advised about the explicit depictions of violence and be offered to return their tickets. I would not play down such concerns, already having decided to refrain from attending the Calixto Bieito production of Die Entführung aus dem Serail after reading how much violence it contains. But this is no reason to trash a production altogether.

That pause is reported as several minutes long, so was essentially a break in the musical performance, and the killing scene itself is described as essentially silent until emerging in screams. That was the point at which the fracas in the audience erupted, in which those who booed and yelled got themselves yelled at as low-brows etc.etc. So the audience was not united in protest.

Yes, the reviews were rather negative, judging the production as pretty clumsy and far-fetched. But hardly anyone, besides the critic of Rheinische Post, considered it a scandal in itself. Anything else is no longer relevant, nobody cancels already scheduled performances of a production because it got bad reviews.

No: The published opinion in Germany does not appreciate the management of Deutsche Oper am Rhein and here inavoidably director Christoph Meyer in person as decisive and responsive to their audience. Very much on the contrary: Just all commentaries I saw so far consider Christoph Meyer as weak and only creating the real scandal now, with his decision.

Also raised in this discussion is the circumstance that management first accepted the concept offered by Burkhard Kosminski and also did not intervene at any point. They could have stopped the production during the rehearsals, during which some staff members raised concerns if that rumour can be trusted.

But management apparently wanted the scandal, got it, could not stand it and thus now did the worst they could do at all. It appears to be a pretty widespread opinion that Christoph Meyer should resign and the production dramaturg as well as the head of dramaturgy leave the company, too. They all are responsible for this disaster.

Prior to the second Tannhäuser performance on Thursday (May 9), which now was a mere concert, Christoph Meyer showed up and has been perceived as being under considerable pressure from a situation asking too much of him. Reportedly he essentially read out the press release, then continued in a somewhat confuse matter, talking about the “digital guillotine” of online discussions where he got attacked by people who never saw the production.

That’s what could be said about all this for now.

i was very surprised that it was taken off! A much worse offender, in my book, is the current Norma in Bonn. This is a production which begins with an abbreviated Casta Diva, and then the opera presented is chopped and changed to suit the producer’s “concept” – which is a backstage love affair between the singer portraying Norma and a Flavio Briatore type who is playing Pollione. Excruciating!!! Ugly!! And VERY POORLY sung. Awful reviews. People booing regularly and walking out. The production is still on though!

In Germany it’s the Nazi allusions that get people going!! Not awful productions per se.

I make no judgement against German theatre. On the contrary, I think there is a case to be made for shocking people, even in an opera house, if the concept is cohesive and makes it necessary. What so many people not in-the-know call Eurotrash, is often a serious dramaturgical attempt to make people think anew about a work, in terms of their own history. And if a few people fainted in Dusseldorf, that’s a more positive reaction than doing nothing or looking away, as many Germans did when the events depicted actually took place.

I make no judgement against German theatre. On the contrary, I think there is a case to be made for shocking people, even in an opera house, if the concept is cohesive and makes it necessary. What so many people not in-the-know call Eurotrash, is often a serious dramaturgical attempt to make people think anew about a work, in terms of their own history. And if a few people fainted in Dusseldorf, that’s a more positive reaction than doing nothing or looking away, as many Germans did when the events depicted actually happened.

This could, in fact, be the absolute worst production of Tannhauser since the beginning of time. But we’ll never really know now that it’s been closed down. Perhaps DO did what they had to do. And I know that whether or not that was artistically or morally the right thing to do can be argued eleventy-one different ways.

But I find it exasperating that so many have had so much to say about this production, while knowing so little about it.

Thanks again for your ongoing clear-headedness regarding 21st century opera production!