All we needed was Giuseppe Verdi in a LGBT and rainbow version. This time, the protagonist of the politically correct opera is director Luca Baracchini, who has “converted” La Traviata by the great Verdi into a kind of transgender show. Violet Valery she lives in doubt about her gender identity, constantly mirroring itself and not recognizing itself in its own gender. Next to her, all the other characters are dressed up and made up as drag queens. Everything culminates in the chorus of gypsies and matadors, who turn into a festival based on whips, thrusts between men and chains, complete with a mask with horns.
In short, it is an attempt to use the masters of the past in political propaganda, catapulting them into the reality of our day, always with a color that corresponds to the world of progressivism and the real left, to defend the rights of minorities protection . A result that, however, did not achieve the desired goal. From Ponchielli’s Parquet, the main theater in Cremona, a sign of boos, “boo” and “shame” has been raisedwhat the rejection of the director and his new work cost in a politically correct sauce.
But this is not the first revised and mutilated work. In fact, a few months ago, playwright William Shakespeare’s masterpiece, The Tempest, was recast to progressive canons because it could be interpreted in a discriminatory reading towards minorities. And again, to stay on the subject of historical revisionism, he accompanied the entire procession at the “Cremona Pride” event last June a Madonna in LGBT versionwithout anyone batting an eyelid.
In short, if there had been the same scene against Allah (which may also have come from a righteous place), the treatment probably would not have been the same. Needless to say, what we would have read in the national press: they would have stood up the shields of racism, xenophobia and intolerance. Tales that did not appear on the left on time.
But just so we don’t miss anything, the director doesn’t back down and continues to defend the LGBT version of La Traviata. In fact, he states it unequivocally: “Verdi feels deeply Italian, but he is also an anti-Italian, highlighting the contradictions and hypocrisies of the society of his time, especially the very bigoted bourgeoisie. Likewise, this traviata tells the reality and contemporary societya reality and a society worth dealing with because we all live in this society and in this reality”.
Yet viewers seem to have bluntly dismissed this contemporary politically correct version. Would you like to see the real (and great) works of Giuseppe Verdi or their remodulation in LGBT sauce? Would you like to read Dante’s true (and glorious) Divine Comedy or Boccaccio’s extraordinary Decameron in the original or rainbow cut? We have clear ideas, but maybe we’re just dangerous traditionalists…