1. When the director explains that there is no “concept” and then proceeds to explain the concept, which is basically a literal depiction that would have been recognizable to the opera’s initial audience: NOT HAVING A “CONCEPT” IS STILL A CONCEPT. You can’t perform something without interpreting it. That’s not how it works. I suppose here we are operating on that dangerous knife’s edge between concept and “concept.” Or concept and “concept” and Konzept.*
2. You know the libretto is bad when those in charge freely admit that a) they had to re-write bits of it so as to avoid confusing the audience and b) the cast routinely cuts up over the dialogue during rehearsals and have to work very hard to keep it together.
3. That said, I find that I don’t mind a certain amount of yelling in German in my operas.
4. This is off topic, but why does Florinda faint so much? Once when she gets into the tower and I think there’s another point when someone says “consciousness has left her” or something like that. Maybe that palace has some kind of carbon monoxide problem. Or maybe the librettist figured that since she goes around yelling (in German) and brandishing a weapon and at one point it’s even implied that she took out a guard getting into that tower, it would be best to reassure the (original 19th century) audience that she doesn’t do this sort of thing all the time.
5. I think I’ve had it with Schubert operas for a while. Dude was not cut out to be an opera composer. The music is great, but it keeps getting dragged underwater and getting the shit kicked out of it by the plot.
*It’s a Regie knife. It has the sort of edge that three things can balance between. Among. Whatever.