PARIS — You can’t always expect to understand the work of Romeo Castellucci. Especially when the Italian director — really, a polymathic theatrical artist — stages opera. A “Moses und Aron” at the Paris Opera in 2015 dealt almost entirely in stark contrasts of black and white. “Salome,” at the Salzburg Festival last summer, placed its antiheroine in a pool of milk, serenading the severed head of a horse. Mr. Castellucci’s latest project, Scarlatti’s “Il Primo Omicidio” (“The First Homicide”), which continues at the Paris Opera’s Palais Garnier through Feb. 23, is tame by comparison: relatively direct, yet still striking.

Source: New York Times February 03, 2019 16:41 UTC