Headshot of La Cieca

Cher Public

  • kashania: Amen. If someone came on parterre (or any online forum) and wrote the kinds of nonsense that Gordon... 8:43 PM
  • ML: The MET Orchestra musicians are the House Gods. Don’t resent them a penny. 8:27 PM
  • Bill: Stoyanova may be 52 but as one critic wrote in Vienna this past year, he had never heard a bad... 8:18 PM
  • DonCarloFanatic: In many venues, they just don’t care. Teenage employees take the ticket, recite the... 8:11 PM
  • ducadiposa: Thank you so much for the detailed account of musical life in Budapest. I had heard about... 7:58 PM
  • MontyNostry: Now **this** is a living soprano who does something with ‘D’amo r …’... 7:54 PM
  • steveac10: Not just more or less. Also, in the Minnesota mess their were several board members front and... 7:36 PM
  • m. croche: What an odd response. If memory serves, it was Vanska who was definite that he would never, ever... 7:27 PM
  • steveac10: There were a few other soloists on the FB thread who commented a bit negatively, but the reality... 7:26 PM
  • Quanto Painy Fakor: Will Helga Schmidt be hired to replace Gelb? http://www.abc.es/ cultura/musica/... 6:57 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 »