Cher Public

  • bluecabochon: Jungfer, I don’t think that the production has deteriorated. It looks pretty much as it always has and the costumes... 5:47 PM
  • aulus agerius: Rosina, it’s an awkward sentence due to the word ‘when’ . It does say what you say. I’m sure CC was... 5:45 PM
  • Jungfer Marianne Leitmetzerin: I first heard her as Martinu’s “Julietta 221; (d’ya all remember Martinu? judging from... 5:42 PM
  • Bill: To my knowledge the Met does the Paris version – or has done so since the 1977 production was new (years ago Kempe did the... 5:41 PM
  • grisha: httpv://www.youtub qo15Z8w 5:34 PM
  • Jungfer Marianne Leitmetzerin: And let us thank Patricia Ziprodt for those! Starting in 1977, I got to wear three of them in the course of... 5:33 PM
  • Cicciabella: Wow, first Grim expounding on Handel, now Batty with the whole Minnesingers backstory. Parterre is all the university you... 5:23 PM
  • rote rosen: “…one hopes for the best for Ms Westbroek, a truly giving and talented performer but one whose voice has never... 5:16 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 »