Cher Public

  • Opera Teen: Saw Maria Stuarda last night which I enjoyed. I’ll put a full writeup of it on my blog, but Here is my interpretation of... 8:40 AM
  • NPW-Paris: I remember some people here said they’d seen good productions of Il Trovatore, but I don’t think I have, except... 8:08 AM
  • NPW-Paris: I’ll be there on Monday night. I’ll write it up, of course, as usual. I’ve been told the production is boring. 8:06 AM
  • Rowna: Was new to me. Thanks for the link to Nebs aria. Dark on the bottom, thinned out beautifully on top, plus astounding physicality in... 6:31 AM
  • armerjacquino: Sigh. And once again, the daily OT thread, RIGHT UNDER THIS ONE, wonders what it did wrong. 6:01 AM
  • NPW-Paris: My apologies if this is a “repeat̶ 1; : http://www.concert classic.com/video/ le-trouvere-de-ver di-la-bastille-... 4:45 AM
  • la vociaccia: It’s a great voice no doubt but a bit too cloudy in the vowels (especially the the French) for me to invite... 3:24 AM
  • la vociaccia: It’s not a massively complex or uncommon phenomenon; she produces her current sound by driving her voice at full force... 3:16 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 »