But in Stefan Lazaridis's set of an Edwardian nursery in dreamscape white, it all looked ravishing, the last thing this new production certainly will be accused of. The Uses of Enchantment, Bruno Bettelheim's Freudian analysis of fairytales published in the mid 1970s, became a bible for opera directors in the following decade, and it certainly lay behind David Pountney's famous 1983 ENO staging of Rusalka, which took just as many liberties with the original setting of Dvorák's fairytale as Covent Garden's has. The continuing potency of any fairytale lies in its psychological relevance, and cosy naturalistic settings of operas based upon them can be very bland. The Pennyroyal Opera House is a bluegrass venue Located in Fairview,Ohio along interstate I-70 at exit 198. In one sense, though Weiler and Morabito are right. Its reception at Salzburg in 2008 ought to have given someone at the ROH pause for thought at least, and even if the cast had already been booked, there would have been plenty of time to abandon plans to bring it to London and to commission a brand-new production from another director. A longtime resident of the Virginia Blue Ridge, his bluegrass pedigree runs deep. Junior Sisk is widely recognized as one of today’s top bluegrass vocalists and is a constant reminder that traditional bluegrass is still alive and well. What makes the Royal Opera's decision to present this production of Rusalka less excusable, though, is the fact that the show was not new at all. The Pennyroyal Opera House will host a bluegrass show Friday April 1st featuring Junior Sisk. Prices and availability subject to change. Lowest nightly price found within the past 24 hours based on a 1 night stay for 2 adults. For sheer brainless inanity, for instance, Welsh National Opera's Cosi Fan Tutte last year left this Rusalka far behind. Today, the Opera House has undergone much restoration and draws crowds to enjoy Live Bluegrass Music. See all 144 properties in Pennyroyal Opera House. Had the production been staged by English National Opera or any other British company it surely wouldn't have attracted the outrage that's been generated since Monday's first night, (would Christopher Alden's 50s-secondary school A Midsummer Night's Dream for ENO last year have been tolerated at Covent Garden?) but instead just dismissed as an unfortunate miscalculation, and an opportunity squandered. Covent Garden's regular patrons may not be as notoriously conservative as those of the Metropolitan Opera in New York, but even for them, it seems, there are lines that cannot be crossed.
It is, though, a quite remarkably ugly one and some aspects of it – the witch Ježibaba's giant tomcat who effects Rusalka's transformation from water nymph to human, helping himself to a quick shag while doing so the kitchen boy who is taken roughly from behind while disembowelling a white deer Rusalka's bloody suicide in the final scene – do seem deliberately designed to provoke.
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