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  • Feldmarschallin: Übrigens wie ist den der Figlmüller? Wir sind über Ostern in Wien und wollten ein gutes... 5:54 AM
  • Jungfer Marianne Leitmetzerin: UA is the German abbreviation for Uraufführung: World Premiere.... 5:20 AM
  • Feldmarschallin: Well no one is quite sure yet. But here something in the SZ: http://press-ab... 5:15 AM
  • tiger1: What, dear Feldmarchallin, is UA im Prinzi? TIger 5:03 AM
  • Feldmarschallin: I made a few inquires and it seems the next season at BSO will look like this (more or... 4:19 AM
  • RobNYNY: NOT merely versatile. 2:00 AM
  • RobNYNY: She is merely versatile is the sense that she can sing a lot of stuff. She is versatile in the sense... 1:59 AM
  • Buster: Thanks for the recommendation, Evenhanded. Will definitely listen to it:. http://www.voix... 12:45 AM
  • Krunoslav: “Valente was better than Cotrubas?” As Ilia, much. For one thing, she had a purer... 12:26 AM
  • alejandro: http://www.nytimes .com/2015/01/30/ny region/as-diva-is- cheered-protester- climbs-onto-sta... 12:21 AM

Heil and farewell

The Bayreuth Festival has decided to walk away from Jonathan Meese, canceling his production of Parsifal scheduled for 2016. The reason given for Meese’s ouster was an out-of-control budget, at last reckoning something more than €4 million. Andris Nelsons is still on board to conduct. [Die Welt]

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 »

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“I felt the hand of Death”

Oddly enough, Eva Marton‘s interpretation of the Kostelnicka (pictured) goes unmentioned in 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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