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Cher Public

  • Jungfer Marianne Leitmetzerin: Sweetie darling: have you ever BEEN on a baseball field? There is a reason why... 8:54 AM
  • Krunoslav: ‘MontyNostry says: Ciccia — her Alcina in London was uncomfortably on the sharp side... 8:53 AM
  • arepo: Yep. This one was a no-brainer … er … no-seer. Her Nebs for sure. 8:44 AM
  • messa di voce: Blind items this season = Iolanta 8:40 AM
  • La marquise de Merteuil: AN? 8:33 AM
  • MontyNostry: Ciccia – her Alcina in London was uncomfortably on the sharp side for much of the evening,... 8:26 AM
  • Feldmarschallin: High heels are NEVER inappropriate for a Diva. Never. She just needs to learn how to walk in... 8:21 AM
  • Jamie01: My favorite part is that they invited her to sing at Game 6, but she was scheduled to give a master... 7:47 AM
  • Cicciabella: Basso, have you ever attended a live DiDonato concert? And did she sing consistently off pitch?... 7:02 AM
  • Feldmarschallin: She could still sing die alte Gräfin in Pique Dame. 6:35 AM

Seligsten Paar

Maestro Christian Thielemann has made his choice for Lohengrin casting in Dresden and, later, Bayreuth: “Anna Netrebko als Elsa und Piotr Beczala in der Titelpartie.” [Kurier]

Rough trade and regie

Meet Tobias Kratzer (left) who is scheduled to direct Tannhäuser for Bayreuth in 2019. Die Welt has details on Festspiele through 2020. Read more »

“I felt the hand of Death”

Oddly enough, Eva Marton‘s interpretation of the Kostelnicka (pictured) goes unmentioned in Issue #38, perhaps because this time around, parterre box the queer opera zine is stuffed to the gills with some of the edgiest content in its history. After leading off with a completely inaccurate gossip item about Sam Ramey, your doyenne discusses Glimmerglass Opera; Gertie Dammerung travels to Munich and Bayreuth; Dr. Repertoire muses on Marta Eggerth, MTV and Carlo Bergonzi; Leila de Lakmé appreciates Leyla Gencer; and, bestest of all, Opera Snooze! [Download Issue #38]

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In Ring und Reih’ die Hall’ erfüllen die Helden

Our Own JJ has been thinking about Bayreuth some more, this time in the pages of Musical America.

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No one who speaks German could be an evil man

If Frank Castorf‘s work on Der Ring des Nibelungen at Bayreuth accomplishes nothing else, it should serve as a sort of loud disorganized reminder of the dangers of indulging in the intentional fallacy.

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Into the wild green yonder

Mark your calendars and set your alarm clocks, cher public, for 13 October 2013 at 18:00 CEST (that is, 2:00 PM in New York City) when individual tickets for the 2014 Bayreuth Festival will go on sale online.

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Ring? What ring?

All right, I admit it; I finally broke down and read the program notes for the Ring in the Bayreuth program book.

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The Platz thickens

I’m told that the public were, if hardly enthusiastic, at least ambivalent toward the Frank Castorf Ring up until the first performance of Siegfried, at which point things got really ugly and the booing started in earnest.

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Flame off

First things first: working from the limited evidence of half or less than half of Frank Castorf’s production of the Ring, I don’t see any evidence of contempt for the audience or whatever you want to call it.

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First impressions

There are some productions that “introduce” themselves quite clearly early on: for example, the Patrice Chereau Ring puts it cards on the table very frankly with the image of the hydroelectric dam populated by grisette Rhinedaughters.

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