Headshot of La Cieca

Cher Public

  • operaassport: The Glasgow result hasn’t been announced yet. It’s not expected until midnight... 11:47 PM
  • operaassport: I love Morris, his Wotan was shattering. But this is ridiculous. 11:45 PM
  • steveac10: This clip is lovely but Ms. Wilson (as Tom and Lorenzo would put it) needs to fire her gays. The... 11:44 PM
  • Krunoslav: How about June Anderson as Golde? After all, another former Met Lucia and Gilda–Dolore s... 11:21 PM
  • Maury D: Maybe Schafer withdrew from Hansel to sing Fruma Sara. (I actually love her song, I have to admit.)... 11:12 PM
  • Krunoslav: “Christine Schäfer, who has decided to take a sabbatical from performing this season”... 11:02 PM
  • Krunoslav: Did they try Norman Bailey, who’s 81? He was very good as Sachs… 10:56 PM
  • Krunoslav: Tamara Wilson was very good indeed in Houston’s DON CARLOS and both sang and acted... 10:54 PM
  • Jack Jikes: Mme Claggart – can you hear this? You are fervent and public. 10:52 PM
  • Krunoslav: Maybe Helen Field as Fruma Sarah? 10:45 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 »