Headshot of La Cieca

Cher Public

  • la vociaccia: Correction: That crossover soprano they had playing the British dancer with the halter top... 11:49 AM
  • la vociaccia: I’m not getting involved in that debate right now – It’s too damn nice out.... 11:41 AM
  • laddie: I saw him sing the role in Santa Fe as well; don’t agree that he stole the show (the set... 11:36 AM
  • overstimmelated: What about protesting the fact that singers are amplified at the Met? (They are,... 11:34 AM
  • la vociaccia: Klinghoffer last night. More on the whole production after I’ve digested it fully but... 11:10 AM
  • Greg.Freed: Nah, de gustibus, you know. But thanks, and likewise! 11:06 AM
  • Lindoro Almaviva: Imagine what will they say when gay marriage is allowed. On, wait… 11:04 AM
  • zinka: Baseball and opera: You need 5 balls to get on the stage Batti,batti, o bel Masetto Nilsson and... 10:53 AM
  • Dabrowski: A question for the experts on Parterre: I have been near bursting with anticipation for the... 10:52 AM
  • zinka: Charles Manson as Battle???????????? ????????????? 10:41 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 »