A psychological opera composed in the shadow of World War I, Erich Wolfgang Korngold’s long-neglected “Die Tote Stadt (The Dead City, or Shi no Miyako)” has this year been brought to the stage three times: once in a revival of the New York City Opera’s 1975 production and twice in new stagings.

The first of these was an avant-garde version in May that inaugurated the Theatre du Chatelet’s regional opera festival in Paris. This relocated the action to Hollywood and loaded up the sexual overtones; even the best of voices would have found it hard to compete with the flashy peripheral (distr)action.

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