What to call the theatrical visions of Romeo Castellucci, stage director and designer of sets, costumes, and lighting? How about performance-art installations? This time, the object of his contemplation is Mary grieving at the foot of the cross. The musical component, conducted by Michele Mariotti, juxtaposes the Stabat Mater of the short-lived Baroque master Giovanni Battista Pergolesi (1710–1736) with a work by the 20th-century experimentalist Giacinto Scelsi (1905–1988) called Three Latin Prayers. Where the affinities may lie between these compositions is anybody’s guess. But then, it’s hardly uncommon for Castellucci’s production to leave audiences scratching their heads. As he has often explained, his goal is to open realms beyond what words can explain. Much as his detractors who crave logic and meaning may resist, Castellucci’s exquisitely staged disconnects have been known, on occasion, to strike them to the core. “There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy,” Hamlet told his sole confidant. Quite so, and maybe that’s the best spirit in which to approach Castellucci’s elusive art. —Matthew Gurewitsch