Jew Does Politically-Correct Rewrite of Wagner Opera

Diversity Macht Frei
July 30, 2018

Jews have a thing where they like to defile the memory of those who challenged them whenever they cannot “blot it out” completely.

Wagner, of course, was a famous antagonist of the Jews. Performances of his work are still (de facto, not officially) banned in Israel.

But here we have a Jew, Yuval Sharon, who directs Wagner’s opera Lohengrin at Bayreuth, the performance space that Wagner constructed himself, considered a kind of temple to the man and his music, and the Jew rewrites the plot to make it more politically correct.

In the original version, Lohengrin, the knight, chivalrously saves the princess Elsa and marries her, requiring only that she never ask about his origins. The evil witch Orotrud persuades Elsa to ask the question, forcing Lohengrin to depart. Elsa and Orotrud then both die. You could interpret it then as a parable of masculinity betrayed by feminine weakness.

In the Jew version of the story, however, Lohengrin has been demoted from knight to electrician and both women survive and celebrate the overthrow of male patriarchal oppression.

In the ambiguous final scene of Mr. Sharon’s production, with sets and costumes by the artist couple Neo Rauch and Rosa Loy, the two lead female characters appear not only to survive, but thrive: liberated from patriarchy, and for the first time given complete agency. Lohengrin, a failed hero, leaves in shame. And the gullible people of Brabant, depicted as vaguely mothlike, are killed en masse by a single zap.

…

His program notes for “Lohengrin” even use a Brecht poem, “In Praise of Doubt,” as an epigraph.

That poem in many ways holds the key to understanding this “Lohengrin,” which makes a feminist of Wagner by reading into the motives of its most oppressed characters: the women. In one stanza, Brecht writes:

The most beautiful of all doubts
Is when the downtrodden and despondent raise their heads and
Stop believing in the strength
Of their oppressors.

A traditional reading of “Lohengrin” would be that the villainous Ortrud plants the seed of doubt that makes Elsa ask the forbidden question of Lohengrin’s name and origin. In other words, curiosity kills the cat. But Mr. Sharon said he sees Ortrud as a sort of freedom fighter who liberates Elsa, while the moth people of Brabant blindly follow the light of Lohengrin’s charisma to their deaths.

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