Cher Public

  • Operngasse: Sigh – Really can’t rely on the memory anymore. The Jenufa was fall 1980 at San Francisco, but the Kostelnicka... 4:14 PM
  • armerjacquino: She had them in 66- my parents saw her as Konstanze. 4:09 PM
  • irontongue: There is some garble in the write-up. I think Jungfer Marianne intended to say that Hotter played Schigolch, etc. As far as... 3:53 PM
  • armerjacquino: I stand corrected. 3:35 PM
  • Gualtier M: To answer my own question: http://deborahvoig t.com/engagements/ Her personal website lists no future engagements. Seems that... 3:12 PM
  • JohninSeattle: AMEN, dearest Camille. AMEN. To Ms V: BUONA FORTUNA. 3:11 PM
  • Camille: Oh is that how you do it there? My, that is interesting. I wouldn’t know about any of that and would hope this does not... 3:08 PM
  • Gualtier M: I agree with Camille regarding the Voigt piñata around here. She is not all that old and she needs steady, gainful employment... 3:03 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 »