Richard Strauss, Feuersnot (1901)

Regardless of anything else about this opera, it has to be said: it has "snot" in the title.  This is a grave flaw.  I suppose Deutschephones would argue that that's not the piece's fault, and indeed that it's only my provincial narrow-mindedness that's causing me to make a big deal about it, but I disagree.  Change it at once.

It takes place at a solstice festival.  There's this sorceror called Kunrad who comes to town and causes a commotion.  He inappropriately kisses Diemut, the mayor's daughter, so she plays a trick on him where he's stuck in the air in a basket.  So he summons, like, a big ol' curse, and the festival fires are all out, and the only way to bring them back is through, um, a virgin.  So all the townspeople sing a chorus where they insist that Diemut should go and take one for the team, to which she finally accedes.  This is presented as a triumphant moment, to be clear.  And that is that.

So yeah!  That ending!  It's kind of shockingly unacceptable on any level, innit?  Well, okay, not "any level"--I'm fully aware that an apologist would point out that contemporary sexual ethics are very much not the point of the piece; the characters are just playing a part in ancient fertility rituals.  But dude.  Seriously.  Come on.  How can you possibly expect that to play to a modern-day audience or--I would have hoped--even one in 1901?  Shit, dude.  You could probably make this seem a bit less repellent through the production, but this one, alas, does not.  In fact, I'd say they kind of do the opposite: look, I am not impugning Dietrich Henschel as a person, but his Kunrad is extremely smug and douchey-looking, which just makes things worse.

As for the production, it's pretty jumbled--a sort-of modern-day thing but sort of not, with a lot of abstraction and irritating background people making exaggerated, cartoony gestures, which in no case worked well.  Still, I do have to admit, the part at the end where all the people are waving ribbons to simulate the bonfire was cool.  Never let it be said that ol' GeoX refused to admit that a cool thing was cool.

It's interesting musically, though, I'll give it that.  I mean, not great, but also not like any Strauss opera I've seen before.  Broadly romantic, but you certainly wouldn't confuse it with later Strauss music.  Because it's not as good?  Well...that's certainly an aspect of it, but still!  It's not too bad!  Probably worth seeing!  On the whole, though, this is certainly the least essential Strauss I've seen, and certainly not a vital part of anyone's operatic education.