Cher Public

  • Baltsamic Vinaigrette: Thanks a lot, littoraldrift. That’s Hannu Lintu, until recently principal guest conductor of the RTÉ NSO... 11:36 AM
  • NPW-Paris: Just an anecdote but when I visted Cirque du Soleil’s HQ in Montreal I was surprised to find everything from headgear to... 11:30 AM
  • WindyCityOperaman: I prefer the “sad” ending to the “tragic̶ 1; one that Mrs Domingo revived for WA Opera.... 11:14 AM
  • norma54: Off topic… but can anyone tell us when the MET is scheduled to release next year’s season …. and HD Schedule?... 11:05 AM
  • Loge: By the way, Cold Mountain is a real place in North Carolina. Near Brevard. 10:50 AM
  • Loge: I saw this in Santa Fe and I agree with this review. Great libretto, great singers, good staging, but the singers don’t... 10:49 AM
  • Gualtier M: Will, I also think if you think of the story as an analogue to Colette’s “Chéri” ; and not “La Dame... 10:19 AM
  • Constantine A. Papas: Karita is great as long as she stays away from Puccini. Her Salome was the greatest I’ve ever seen. A high... 10:18 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 »