When Joshua Barone reviewed this production for The New York Times when it was introduced at the Berlin State Opera in 2019, he wrote that Sher’s treatment of the Weimar Republic came off as “more of a context than a concept.” For the Met, Sher has been able to fully realize his vision, including the introduction of a turntable for Michael Yeargan’s enormous set, which now rotates to allow fluidly cinematic shifts between scenes.
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