Headshot of La Cieca

Cher Public

  • pavel: Quite a tempting selection of treats, save for the Rameau. Even people dancing in their knickers... 8:10 PM
  • Archaeopteryx: I must say that I find Eaglen’s reading of Norma’s scene on her recital disc with... 6:29 PM
  • manou: Toscanini e passato naturalmente. 6:17 PM
  • manou: Toscanini ed “passatoR 21; non hanno bisogno di lettere in più. 5:52 PM
  • kashania: Well, that feistiness carries through the third act. My throat hurts! She’s very exciting but... 5:28 PM
  • ML: Yes, and that’s the best line in the whole damn libretto! 5:20 PM
  • ML: Just out of curiosity, does anyone know how Jane Eaglen in her EMI recording handles the role, and... 5:12 PM
  • mercadante: I heard that Liu in Philadelphia and thought it quite excellent also. 5:09 PM
  • Archaeopteryx: And La Grubsi’s leg injuries seem to be forgotten. She excelled in July in Zurich as... 5:06 PM
  • Archaeopteryx: Gruberova does Casta Diva in G normally, since she started to sing the role she didn’t... 5:04 PM

Equal rites

As with all good myths, certainly all the myths at the heart of Wagner’s operas, the juggling of symbols and archetypes and themes in Parsifal opens the piece to a great variety of interpretations. Many recent productions have twisted things in a way that seemed to strain or defy Wagner’s intricate libretto and lush, meticulous score: gray springtimes in a world beyond nuclear or environmental holocaust, that sort of thing. But the world of Wagner’s tale is, like our own, a world in crisis, on a razor’s edge. That’s bound to resonate with contemporary directors. They then have many options in setting out the workings of the crisis in this fable of a solution to whatever may be broken.   Read more »