Be it in life, on stage, or in the classical opera repertoire: when a woman thirsts for revenge or power, this is perceived as disturbing, mysterious, or perhaps even as a cause for scandal, while male violence is ubiquitous and seems downright banal. This autumn, artist and singer Lulu Obermayer exacts at least some mild revenge in her artistic intervention for Oper Graz (the title quotes Verdi’s Lady Macbeth). Building on her practice of critically deconstructing gender roles, she occupies the opera building together with an ensemble of female singers to temporarily recast the canonic role of the woman in the opera. She herself appears as Mistress of Ceremony, decoding the symbolic order of the stage and reexamining its clichés of female violence.