A recent performance of Paul Hindemith’s opera Sancta Susanna in Stuttgart, Austria, left 18 audience members requiring medical assistance for nausea and shock, according to a report by the Daily Mail. The one-act opera, which was considered scandalous upon its creation in 1921, features explicit scenes that include nudity, sexual content, and depictions of injury.
The adaptation was directed by Austrian choreographer Florentina Holzinger, known for her unorthodox and provocative performances. The all-female cast portrays nuns who progressively shed their habits throughout the show. The opera explores themes of suppressed sexuality within a religious context, focusing on the character Susanna, a young nun who discovers her sexuality.
Notable scenes in the performance include an actress dressed as the Pope being lifted and spun by a robotic arm, performers wearing nun’s veils roller-skating on a half-pipe, nude performers engaging in stunts that involve real and simulated injuries, and a depiction of a piece of skin being cut from a performer’s side to illustrate the Eucharist.
The Stuttgart State Opera described the performance as a blend where “Bach meets metal, the Weather Girls meet Rachmaninoff—and naked nuns meet roller skates.” The opera includes an age restriction of 18 due to its explicit content.
The opera’s website provides a disclaimer stating that the performance art is “not fake, but real,” and issues warnings about the depiction of sexual violence and potential discomfort for viewers. The nearly three-hour show does not include an intermission, which some believe contributed to the physical reactions of some audience members.
An opera spokesperson commented that those affected were seated near the stage and were likely aware of the performance’s intense nature. “Exploring boundaries and crossing them with pleasure has always been a central task of art,” stated Viktor Schoner, the artistic director of the opera.
Florentina Holzinger, born in Vienna in 1986, has a reputation for challenging traditional norms in dance and theater. Her work often includes elements from martial arts, circus acts, and stunt performances. She addresses themes such as female oppression and critiques of organized religion.
The performance has received mixed reactions. While some critics praise it for its boldness and creativity, others have expressed concern over its content. Jan-Heiner Tück, a theology professor, criticized the opera in the Catholic magazine Communio, questioning the portrayal of religious figures and practices.
Despite the controversy, the Stuttgart State Opera plans to continue with scheduled performances. They recommend the show to viewers “who are daringly looking for new theatrical experiences.”
