Cher Public

  • Milly Grazie: Great review! Helpful, concise and insightful. I spilled my coffee howling as I read, “Melanie Long (Ava) shoved her... 4:59 AM
  • danpatter: Goerke’s “Hojotoho 221; is indeed thrilling. There’s even a fairly decent trill. That trill was also on... 2:20 AM
  • Krunoslav: “the Czech soprano Gabriela Benacková” Do not call her than in Bratislava! She made a great career inPrague but she... 1:18 AM
  • Sanford: Roberta Peters was the reason I became an opera singer. When I was 14 or 15, I heard her sing the Vilialied on Dinah... 12:22 AM
  • antikitschychick: LOL @ this and your previous comment. Perhaps you and Verret are right. Also, I’m sure Elina, La Rad and Mariusz... 11:29 PM
  • antikitschychick: Hi Neil, thank you for sharing your thoughts about Rad’s Norma. Having listened to a couple of live broadcasts... 11:20 PM
  • LT: This whole paraNorma activity reminded me of Verrett’s autobiography, in which she says that Norma is one of the most overrated... 10:14 PM
  • antikitschychick: https://cdn.meme.a m/instances/500x/4 4843606.jpg 9:19 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 »