Imagine La Fenice’s “Tosca,” the Mariinsky Theatre’s “Aida,” and the Staatsoper Unter den Linden’s “Der Rosenkavalier” all taking place at one venue, within less than a month of one another, on the same stage. The list could easily resemble an operatic counterpart to the Lucerne Festival or the tenth anniversary season of the Elbphilharmonie, where major orchestras converge within a concentrated period. It has long since become impossible to keep track of the numbers of people, containers and—probably—costs.
