This article explores contemporary representations of wartime sexual violence on the operatic stage. Rape and the threat of rape loom over many operas in the canon, but even those operas that do not thematise rape may have sexual violence introduced to them in performance. Through analysis of four twenty-first century productions, I consider how the idea of sexual violence works in these wartime stories. Staging the implicit or explicit sexual violence in canonic operas can, in the best cases, allow for nuanced commentary on the subject in our cultural moment. But putting sexual violence on stage is controversial and can pose real risks to audience members. Instead of dismissing the proliferation of depictions of rape in wartime opera productions as mere scandalmongering, I explore specific representations through a feminist ethical framework, and ask: What do we risk and what might we gain by putting rape on stage in these operas?
