“Modernized Opera” can sound a little scary, especially if implicitly (mis-)associated with the term “upgrade” which came out of Hollywood and Silicon Valley almost simultaneously in the last several years. Perhaps this is why some people are so against it: it sounds as if their changing the notes to modern notes! Or completely reversing the tone of the opera in some sardonic way. Operas should not be modernized because they are old but because it makes sense to do so. The two terms in quotes shouldn’t be associated at all: the former is a style, the latter a consumerist slogan and a euphemism for dumbing-down. Bringing the action of the opera into the present either explicitly or in some less realistic or even abstracted way, where there is a motivation, can be a wonderful thing and be high art. When the imagery the designer and director create make poetical and musical sense in the way it unfolds through the piece, with its own internal logic compatible with that of the music, it is a wonderful thing and there is no reason modern images are necessarily excluded from this (there is the problem of literal contradictions in the libretto, references to “pastorella” or “boschi” or “selva” in an opera taken to the modern inner city, but those are a separate matter).