Irregular Times Diaries: Unfit Discussion

What’s really going on at the Metropolitan Opera in New York City?

The cover stories for the repeated failures of the opera Tristan und Isolde are appearing increasingly thin. Five different actors have had to be used in the title roles of Tristan and Isolde:

Gary Lehman
Ben Heppner
Mac Master
Deborah Voigt
Janice Baird

Now, there is to be a sixth: Roger Dean Smith… or so he says.

What’s going on? Performances of Tristan und Isolde have had to be cancelled more than once, due to “mishaps”.

The tenor has fallen off the stage. Scenery has nearly killed the singers. There have been mysterious plagues that the publicists are dismissing as “stomach ailments” and “viruses”.

Nobody believes it, of course, and Manhattan’s elite opera scene is abuzz with rumor of what is really happening behind the curtain of the newest production of Tristan und Isolde.

To understand today’s dramatic events, one needs to go back to the time of the composition of Tristan und Isolde. It was in 1849, and Richard Wagner had to flee the city of Dresden because of what the establishment describes, euphemistically, as The May Uprising. Conventional history says that the May Uprising was a political battle between a repressive government and a mob seeking democratic rule. Conventional history is wrong.

The truth is that Richard Wagner had been dabbling in ancient folklore a little bit too deeply, and he came across some folkways that should have been forgotten: The dark arts of necromancy. Richard Wagner thought that he was writing a new opera to celebrate the culture of teutonic peoples, but really, he was casting a black spell to raise the dead. The May Uprising was not about politics. The truth is that the battle was an attempt to defend the living residents of Dresden from a zombie seige.

Just look at the history books. After the zombies started rising out of Dresden’s cemeteries, Richard Wagner ran away, because he didn’t know how to control his creations. The government soldiers in Dresden are then recorded as making a last stand in the Zeughaus.

Do you know what Zeughaus means, when translated into English? It means “House of the Undead”. The government soldiers went to the heart of the problem, to find the answer for the dreadful question: How do you kill somebody when they’re already dead?

The answer to that question was lost to history, but obviously they found some kind of way to control the zombies.

Richard Wagner, in the meantime, set up his operations again in Zurich, and this time he finished what he had started. He finished a final, revised draft of Tristan und Isolde, which still included some elements of necromancy, but not as much as in his first draft.

So, that’s what the people at the Met are facing right now: Black magic. It’s not as strong as when Richard Wagner first tried it in Dresden, but it is potentially deadly nonetheless.

I can’t tell you what’s going to happen for certain, but I can tell you this: There are just a few more performances of Tristan und Isolde at the Met, and I won’t be setting foot in Manhattan until after they are done.