Headshot of La Cieca

Cher Public

  • Camille: Haha! Bill! Although I did not feel the Barbarina outsang la Contessa, she certajnly put Susanna in... 10:03 PM
  • DeepSouthSenior: And oh, after downtown New Orleans I’m delighted to visit Parterre again, where... 9:59 PM
  • DeepSouthSenior: Well, as y’all were experiencing and discussing various onstage disasters, I had a... 9:51 PM
  • Krunoslav: Thanks, DellacasaFan. I of course meant historical Dalmatia, since time era of MEERKAT WIDOW was... 9:43 PM
  • Jungfer Marianne Leitmetzerin: Bill, will you be at the “Figaro̶ 1; at Theater an der Wien? I have... 9:34 PM
  • Lohenfal: Bill, I was at the Figaro today. I assure you that it didn’t sound any better experienced... 9:27 PM
  • Jungfer Marianne Leitmetzerin: From the Staatsoper Web site: VALENTINA NAFORNITA wurde in Glodeni (Moldawien)... 9:23 PM
  • Bill: It should be mentioned that when this Vienna Rigoletto new-production was originally scheduled with... 9:14 PM
  • Bill: Grane – Rachel Willis-Sorensen had a pleasant voice – the voice is basically attractive and... 8:54 PM
  • peter: Rachel Willis-Sorensen was one of the bright spot on today’s broadcast. Not only is the voice... 8:27 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 »