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Cher Public

  • "WTTW is not in Canada but would it be PBS ?" - gustave of montreal
  • "I think cost of opera ticket is one of the biggest obstacles for young audience..." - CwbyLA
  • "Early warnings for Chicgaoland listeners and viewers: Lyric’s..." - WindyCityOperaman
  • "Redbear–I just looked it up. In 2014, 3% of MLB games were no-hitters. Are you..." - 98rsd
  • "Maybe if they could drink beer and eat hotdogs while cursing at visiting..." - Mare Lichter
  • "98rsd – I would sit through “something as stultifyingly dull as..." - Mario C
  • "Wish I had time to get down to Toulouse for that." - NPW-Paris
  • "I am always interested in different repertory. Just now on stage: Krol Roger in..." - redbear

Grail mix

Contemporary stagings of Parsifal tend to be spare, abstract affairs scrubbed of religious associations, knights in armor and, sometimes, a grail. Modern dress, stylized gestures and suggestive symbols are supposed to help audiences navigate Wagner’s mystifying tale of redemption.  Stephen Langridge’s 2013 take for Royal Opera, now available on Opus Arte, is an especially grim, heavy handed specimen that doesn’t show a great deal of confidence in the music or the audience.   There’s misery at nearly every turn, with the music functioning for long stretches as accompaniment to an almost cinematic treatment of suffering and fear. While some of the imagery may be riveting, there is little sense of the hero’s spiritual development, or what makes the Grail brotherhood tick. Read more »

Between two worlds

If works like Salome and Erwartung defined modernism in the first decades of the 20th century, Die Tote Stadt and Palestrina represented the regressive avant garde. Though they had tormented protagonists, themes of death and other ingredients for a frenzied geschrei, neither could break free of the Romantic era’s pull, instead inhabiting a netherworld that’s sometimes described as “post-Wagnerian” or “Straussian.” Read more »

Prison riot

Herbert von Karajan once said listening to some of his old recordings made him envy painters who could simply burn the pictures they disliked. He’d quite possibly be stacking kindling for Myto’s 1962 Fidelio from Vienna, a hard-driving, impulsive performance that reveals the maestro to be anything but an august stickler and stands out mostly for what it is not.   Read more »

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No such Gluck

When Richard Wagner reached into the past and revised Gluck’s Iphigénie en Aulide, he went beyond the accepted boundaries of tinkering and more or less created a new work that’s fomented aesthetic debates ever since.

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Speer pressure

One of the things that made François Girard’s 2013 production of Parsifal at the Met so compelling was the way he tried to make the tale of suffering and temptation relevant to a contemporary audience.

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Bomb squad

Vienna never really forgave Erich Wolfgang Korngold for going to work in the movies.

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Hothouse flower

To some, Anne Schwanewilms will always be the soprano in the slinky black dress who replaced Deborah Voigt at Covent Garden a decade ago.

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Blinded item

His 75-minute setting of Oedipus in Kolonos, heard in a live 2009 performance on MDR Klassik, illustrates how Mendelssohn tried to link ancient forms with Romantic-era sensibilities by fashioning harmonically adventurous chorales and believable characters instead of abstract musical representations of mythical figures.

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Low-fat Schoenberg

With orchestral and choral forces that could outnumber a small European village, Arnold Schoenberg’s Gurre-Lieder is a composition designed to overwhelm.

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Sex please: we’re British

The finer performances of Tristan und Isolde have a way of sounding like a four-hour improvisation, the fruit of a single moment of inspiration that makes one forget how emotionally manipulative and painstakingly crafted the music really is.

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