The opera world is split in two: European regietheater productions reinvent works in ways composers never imagined, while traditional stagings favored in the U.S. and parts of Italy are condemned by some cognoscenti as passé.
Martin Kušej’s vision of Mozart’s “Le Nozze di Figaro” at the Salzburg Festival includes cocaine-fueled fights, a predator priest, a nearly naked hooker and a basement garage rave.
