Outrage to follow as Glyndebourne censors ‘offensive’ operas

The privately-owned Glyndebourne Festival has posted a radical ‘inclusion statement’ on its future productions plans.

Read carefully, then consider the consequences.

Some operas in our archive reflect the society and norms of previous ages, containing historical opinions and social assumptions which may offend audiences today. Where once exoticism and orientalism in the presentation of non-European cultures was acceptable, we recognise through our modern lens that this was wrong then and is wrong now. Moving forward we are committed to re-evaluating our approach to creating opera and interpreting its stories. At the same time, we will continue to make our historical performances available, as we believe they constitute a part of our legacy.

This is censorship, plain and simple.

At the simplest level, it patronises the audience by saying ‘we will make up your mind for you before you can possibly be disturbed’.

At a more troubling dimension, it completely undermines the purpose of art which is to stimulate, uplift, entertain, provoke and enrage.

Consider the operas Glyndebourne will have to edit for likely offence.

No child killing in Jenufa and Peter Grimes, two Glyndebourne staples.

No sexual flaunting in Carmen.

No #Metoo in Don Giovanni.

No wife killing in Otello.

The list is endless.

Would you ever go and see an opera that has been tampered with to avoid giving offence?

image: Handel’s Saul at Glyndebourne, 2018, courtesy Glyndebourne Productions