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?

本文探讨了歌剧舞台上战时性暴力的当代表现。经典中的许多歌剧都笼罩着强奸和强奸的威胁，但即使是那些不以强奸为主题的歌剧，也可能在表演中引入性暴力。通过对四部二十一世纪作品的分析，我思考了性暴力的概念如何在这些战时故事中发挥作用。在最好的情况下，在经典歌剧中上演隐含或明确的性暴力可以在我们的文化时刻对这一主题进行细致入微的评论。但将性暴力搬上舞台是有争议的，并且可能会给观众带来真正的风险。我并没有将战时歌剧作品中大量的强奸描述视为纯粹的丑闻，而是通过女权主义伦理框架探索具体的表现形式，并提出问题：在这些歌剧中将强奸搬上舞台，我们会面临什么风险，又会得到什么？