Cher Public

  • LT: I didn’t know Barton was a lesbian. There are quite a bit more in the closet, though. 2:05 AM
  • Flora del Rio Grande: No trips needed for Racette to study her new role of Minnie Girl of the Golden U-Know What. Santa Fe has at least a... 1:32 AM
  • Sanford: httpv://www.youtub e.com/watch?v=_Q2z fpUFueU 12:56 AM
  • gustave of montreal: Thibaudet also performed at the Met in Fedora as the exiled Polish pianist Lazinski. 9:01 PM
  • PCally: Adrianne Pieczonka 8:53 PM
  • NPW-Paris: Exactly where I’ll hear Sweeney Todd this Sunday. 7:24 PM
  • NPW-Paris: I heard it in a hot tent in Brussels with noisy ventilators and jet planes overhead, on their way to land. 7:01 PM
  • Operngasse: I first saw Much Ado in the Joseph Papp 1972 production with Sam Waterston and Kathleen Widows. Updated to early 20th century... 6:55 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 »