Cher Public

  • Satisfied: Absolutely thrilling Gotterdämmerung with an immolation scene I will cherish forever! While I didn’t so much care for the... 5:32 PM
  • NPW-Paris: “Images of polluting smokestacks and denuded landscapes play over the scene transition projections, turning every... 5:32 PM
  • Sheldon: Alex–Thanks for a wonderful review, with which I agree 100%. I attended the third cycle with the same sense of potential... 5:24 PM
  • Porgy Amor: Thank you once again, Alex, for your marvelous writing about this cycle. It has been a pleasure throughout the month. 5:17 PM
  • Signor Bruschino: Passion is an interesting beast- haven’t heard anyone on broadway saying ‘Let’s get a revival of... 4:20 PM
  • warmke: You discount yourself as a judge of any music if you can’t even correctly count the number of notes in a sequence. The... 2:30 PM
  • Krunoslav: How about Margaret White in CARRIE in tandem with Sabine Devieilhe–or , better, — Julia Lezhneva–wit h... 1:13 PM
  • armerjacquino: But while with Weill- Jenny Diver? 1:03 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 »