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Cher Public

  • Poison Ivy: Thanks for that compilation coloraturafan! (And thanks manou). I like Kunde’s high F the... 12:01 PM
  • kashania: Agreed. I was surprised that he even went for the F. That takes guts. The fact that he was ever... 11:59 AM
  • Operngasse: Thank you PI for reproducing this review. The only performance of I Puritani I have seen was... 11:51 AM
  • manou: Gualtier kindly posted this yesterday in the chat httpv://www.youtub e.com/watch?v=xZ3u Ptm1Oyc I... 11:49 AM
  • Poison Ivy: The F last night definitely didn’t sound that good, but then again, this was 2008, and 6... 11:47 AM
  • Cocky Kurwenal: I think you’d approve of the idea of Isolde – act I is very dramatic and... 11:39 AM
  • bluecabochon: You’ll “let me” be right? Come on. You aren’t interested in the... 11:32 AM
  • kashania: I did not hear last night’s performance but Brownlee has sung the high F very convincingly... 11:24 AM
  • Tamino: herTz that is, cycles per second, that is. Not “heart” ; ; ) 11:18 AM
  • uwsinnyc: Great review. I only heard it over the radio but found the same qualities you so perfectly... 11:18 AM

“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]

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.

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. Read more »

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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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Here in Bayreuth

Our Own JJ (right) reports he is ready and relatively un-jetlagged for Das Rheingold tonight at Bayreuth. He'll have comments afterward.

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boovation

Uh, no, they’re saying “Boo-runnhilde, Boo-runnhilde”

If the Frank Castorf production of the Ring at Bayreuth accomplished nothing else, it will be the popularization in classical music circles of the term “boovation.”

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