actually i could write a whole essay on why referring to opera productions as '''traditional'' is not only a nonsense term but an actively revisionist one when concerning the history of opera.
when people SAY 'traditional', what they actually MEAN are productions that employ late 19th century standards of realism. while realism had existed as an art movement starting in 1848 (the year everything happened), the conceptualization of it applying to theatre really started around the 1870s. the realism movement, in opera, became what we now call verismo.
(there's some kind of lesson here in how even the verismo operas have batshit premises like murder clowns and flowers that kill you, but that topic of conversation is for another day.)
anyway, so if you're staging something like tosca which was part of that verismo movement, then yes, you could reasonably stake the claim that going about it from the angle of 'everything is meant to happen as if it were happening in real life with real people' is the traditional one. but that leaves 272 years of opera history in which 'realism' didn't exist, and therefore... there were 272 years in which 'traditional' productions as we know them didn't really exist.
let's whip around to an opera that 'traditional' staging is particularly egregious to apply to: our good old, fairy-tale-potential-allegory friend, the magic flute!
'what the fuck is happening in that image? is it racist?' no, IN THIS CASE the magic flute is not being racist. those dubious dark shapes are meant to be animal costumes. this is part of a set of early engravings by the schaffer brothers of the first magic flute production, which are invaluable both in researching this opera and opera production history as a whole. this is the scene in which tamino charms the animals with the titular flute, in the year of our lord 1791, and they decided to have it look like this!
anyway, once romanticism kicks into gear in a couple decades magic flute productions start taking a turn with it. remember at this time 'the magic flute is meant to happen in egypt' was still something everyone was sticking to, so we end up with these interpretations of magic flute set designs:
you've probably seen at least a couple of these before because that one on the top left is one of the most famous opera set designs ever. anyway, the design philosophy here between these productions, because there's at least two included here, is weird. there's like 3 things going on: you've got the aptitude for spectacle, this vague orientalist approach towards ancient egypt that was influenced by then-recent discoveries but still very obviously rooted in exoticism, and the cosmic abstraction you can see both in the famous hall of stars and sarastro's temple.
all very interesting! but still not 'traditional'! these, at the time, were a radical re-interpretation of mozart's work- compare them to the above engraving. but because these illustrations have a gorilla grip on the public consciousness they superseded the original 'a bunch of skintight suits constitutes animal costumes' production, and now when an opera company wants to go 'traditional' with their magic flute they do this:
hello my good friend august everding! anyway this is seen as the 'traditional' production out of the two magic flutes in repertory at the berlin staatsoper and yet this isn't what the opera originally even looked like- this is a negotiation with the later early romantic illustrations of the work. sure, it's 'traditional' in the sense that you look at that and immediately know what opera that is meant to be. but at the same time was it ever mozart's intention to stage the magic flute on this grand a scale? is this 'traditional' production really in the spirit of the mozart opera designed for a much smaller stage and with a much smaller set?
famously mozart is dead so we will never know.
but then that brings us to the question of What would an actually 'traditional' magic flute look like? well we have multiple options here.
first, we have ingmar bergman's film version of the opera, which is sort of the equivalent direction-wise of an opera nature cam. modeled after the drottningholm theatre, this recording tries as hard as it can to emulate the magic flute as it might have been seen in the 18th century:
i mean that does look very 18th century, and wouldn't be out of place with the above engraving. but there's still a fatal flaw here: the magic flute was written as an opera for everybody, and was performed not in the drottningholm (which belonged to the swedish royal family and which resides in their palace) but in the theatre auf der weiden, which was, while certainly impressive (trap doors! fly systems!) also a commoner theatre where everyone could just go hang out and watch fairy tale operas. this is a great snapshot in time of what a 18th century magic flute should have looked like. but what would a 21st century magic flute that still adheres to the original 'vision'- no grand sets, no massive theatres, performed by a cast that isn't even entirely opera singers, done with a bunch of jokes meant to appeal to an everyday audience- look like?
well the good news is we might have an idea with the matchbox magic flute, which is on tour right now and which i hope continues to run on said tour.
the matchbox magic flute is the magic flute. it's also not really the magic flute. this is technically an adaptation. it's also not really though. this is the closest i have ever gotten to being in a theatre, watching this opera (which i have seen many times at this rate) and thinking 'shit, yeah, this is what the theatre auf der weiden must have been like all those years ago'.
the matchbox magic flute scales down the whole thing into a very small orchestra and ten singers, who alternate roles like crazy. it is designed for very tiny theatres. most of the cast do not sing opera! they have a few classically-trained singers in there but it's actually sung, in modern english, mostly by musical theatre performers. the jokes are regularly updated; since i saw it in chicago, there were jokes about the evening commute on lake shore drive. parts of the plot are entirely updated or worked around.
and yet, it reflects the original design vision of the original magic flute and what mozart and schikaneder set out to accomplish so perfectly, i almost WANT to say that in some way this too is traditional.
(also, they should put tamino in a dress forever and ever. he gets to twirl it even. really good.)
So, what have we learned here. well for one thing 'traditional' productions, as a catch-all category, don't exist. is a traditional magic flute the one based on the early 19th century designs, or the one based on what 18th century theatre would have been like exactly, or the one that tries to reflect its original spiritual vision?
It's all of them because traditionalism as a term is an inherently reactionary term that upholds a time in operatic history that never really existed and which rapidly changes meaning based on the personal values of who is ascribing it, often forgetting that every opera production represents a negotiation and not a reproduction and that the notion of how it ought to be is one of the most dangerous ideas someone in the arts can have. Go watch who's afraid of modern art by jacob geller on youtube and come back to me.
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