Cher Public

  • rompicolleone: Hasn’t JK been singing this song all over Europe for the last six months? 7:47 PM
  • manou: Tous dans le même panier? 7:38 PM
  • aulus agerius: PD sounds dreadful – his emission seems utterly undependable. Hey, he’s older than I am – what else would... 7:22 PM
  • Camille: Oh, and Vratogna–for what he lacks in vocal suavité he amply makes up in sleaziness as the most laudiably and justifiably... 7:12 PM
  • Niel Rishoi: I found Cruz-Romo hard-pressed and wiry. Never a fan of Bonisolli. The two stalwarts, Siepi and Bruscantini, sounded by far... 7:07 PM
  • Camille: If it is any consolation to you AKC, so far as Spanish vs. Italian, it is very tricky sometimes. In Rome, I went to school to... 7:01 PM
  • Camille: Just stick with Beurre d’Isigny and forget about but(t)er. Yes, take off those noise cancelling ear muffs and be alert when... 6:34 PM
  • PCally: Armer, the basic timbre of the voice is still appealing I think. But some of his operatic ventures have just been appalling.... 6:24 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 »