Cher Public

  • armerjacquino: I’m sure Isolde is not far off too… https://twitter.co m/heldenmommy/stat us/621716511363887 105 12:26 PM
  • kashania: I think this is fair. The rep for which Goerke is now in demand is the relatively small dramatic soprano rep — Elektra,... 12:23 PM
  • armerjacquino: Yep. httpv://www.youtub e.com/watch?v=otyX Re9kxw4 12:16 PM
  • La Cieca: That’s not the Muse, but please feel free to make judgments about the production before you have watched more than five... 12:07 PM
  • kashania: Very well. I probably shouldn’t have said anything considering my foggy memory of the performance. 12:00 PM
  • La Cieca: She sang very flat through the passaggio, which is where the part of Donna Elvira sits a lot of the time. I remember that very... 11:57 AM
  • La Cieca: Oh, get over yourself. Goerke was cast as Brunnhilde for a 2016-2017 revival of the Ring at the Met that was canceled for what... 11:54 AM
  • gustave of montreal: L’ai-je bien descendu ? That drunken Muse looks like a man. (Poor Barbier et Carré what they did to their... 11:53 AM

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 »