This weekend begin in Madrid ten days of Gay Pride that will culminate on the 6th with its massive demonstration. Of course in the operatic world there is no need for demonstrations because, not only pride but gay dominance is widespread. In fact, there have been reactions in recent months, both in the German and Italian press, denouncing the situation and its consequences, since the fantasies of homosexual stage directors often destroy the intention of composers and librettists. Here is a sample of the complaints in question, without a personal assessment that I leave for later. We are light years from the times of Visconti, Zeffirelli, Ponnelle or Patroni Griffi, refined, profound connoisseurs of music. His staging, although sometimes redundant and manid, were splendid and taken care of down to the last detail, with the most absolute respect for the genius of the great opera composers and their librettists. Today everything has changed: obscenity, homosexual propaganda, blasphemy, coprophilia, sexual and physical violence break into lyrical scenarios across Europe, creating a new humiliating mannerism that is repeated with anguished monotony. The German newspaper "Katholisches" echoed the transgressions increasingly unnecessarily provocative of stage managers. Loris Maudrad, editor of a large article on January 18, denounced the staging of disrespectful montages with the works of great composers. It might seem that the values of the former directors have disappeared, Maudrad explains, but no, they are still there although they are scarcely promoted and tend to be suppressed. «The strange, the broken and dirty wants to impose itself before the audience». Obscenity, blood, sexual and physical violence, and promiscuity flood the scenarios of many opera companies. In recent decades there has been a real change from the diffuse presence to military occupation by the most aggressive LGBT lobbies. There is a gay lyrical lobby. In the surroundings of the opera in Italy, the joke circulates: "If homosexuals are removed from the opera, there is a table and two candelabras". The result: the degradation and distortion of opera as art. Topics that other readings have today have been subjected to the overwhelming ideology of set designers: religion submits to ridicule and ridicule; personal relationships between the characters are twisted, creating scenes that extol homosexuality on stage or the story is coupled with the principles or tastes of the director, complains the writer.Calixto Bieito It is one of the most sought after. He remembers his "Dance of masks" with the singers in the toilet and a sodomization; his "Traviata" with the lesbian relationship between Violetta and Annina; the "Don Giovanni" in which the dissolute punished has sexual relations with his servant Leporello, etc. Analogously Damiano Micheletto, Romeo Castellucci, Krzysztof Warlikowski, Antonio Latella, or the couple of directors Moshe Leiser Y Patrice Caurier, who devised a disputed production of «Iphigenie in Tauride». Leiser and Caurier justified their provocations on stage arguing the search for strong emotions: "The public goes to the opera to also understand the text. To concentrate on music would be to lose 90% ». Leo Muscato changed the ending of "Carmen" in Florence with a clamorous and ridiculous investment: Carmen kills Don José in protest against the femicides. These provocations are presented as "brave denunciation of the evils of today's society", but simultaneously transmit corrupt messages and, conversely, carry advertising and money to their creators. Above all lies the immense sadness of physical and artistic sterility: the impossibility of these characters to create a new opera, although adapted to their needs and ideas, without having to alter and unnecessarily vilify what was created by great geniuses centuries ago. The public has little opportunity to directly demonstrate their dissatisfaction since the presence of the director on stage is null once passed the drink of the first function and their reprobation produces in them a kind of cunning and masochistic pleasure, related to the notoriety that such «Scandals» thanks to music critics, some of the same parish, who by pure narcissism, sybaritism or material interest, support these shows. The responsibility does not rest solely on these stage directors, but also on those theaters that host their productions and the network of politicians, agents, collaborators and critics who support their productions. Different articles focus on this network of influence, which translates into favoritism towards certain artists on European stages, in whose theaters there are high pink positions, citing as examples Covent Garden, Bayerische Staatsoper, Scala, Teatro de Palermo, Fenice, Toulouse , Dresden and, several Spaniards. Criticism, says Maudrad, must be applied to the entire "cultural mafia company that supports these experts." Similar opinions are poured into websites such as pi-news.net. There is no solution other than rebellion, they say, as the recently deceased Zeffirelli did before the sacrilegious "Carmen" at La Scala in Milan in 2009, when he exclaimed: « I believe in the devil and last night I saw the devil on stage. That show is the result of a wrong choice, especially dangerous for young people. Imagine a child who has never been to the opera and looks forward to La Scala, a wonderful chest of beauty, and sees such Carmen. "