Headshot of La Cieca

Cher Public

  • NPW-Paris: … oops, I hadn’t finished! … but doesn’t meet them, it was a very special... 1:23 AM
  • NPW-Paris: “EarnestR 21;. That is very well put. I may quote you on that. Even so,and despite a very... 1:22 AM
  • la vociaccia: Few things here: I’m done with the “give her time” meme. The time to hope... 12:35 AM
  • warmke: A bit harsh. Typical American schooled singer, more focused on evenness of resonance than the curve... 11:23 PM
  • Camille: Just now, remembering how well Poplavskaya played Elisabeth’s scene. I won’t see that... 11:23 PM
  • whiskey per tutti: You are correct. It had the imprimatur of the Kurt Weill Foundation. Conducted by Julius... 10:46 PM
  • warmke: Damned AutoCorrect. 10:32 PM
  • warmke: He was, according to many inside reports, asked to retire from Washington National Opera, which he... 10:31 PM
  • PCally: yeah that’s probably the role for her, and I would like to see how she would act it. 10:25 PM
  • PCally: Her foreign princess wasn’t bad as all that, at least on the night I saw it. I thought it was... 10:23 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 »