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  • La Valkyrietta: manou, Yes, a danger. Anyway, originally on Broadway the lyrics went, “If she is... 1:23 PM
  • Grane: PS–congratul ations, Sanford! 1:14 PM
  • Grane: So did anyone hear Anna in Four Last Songs? I love her voice and her commitment, but I do think you... 1:14 PM
  • manou: Much as I enjoyed the return of the prodigal marshie, I am now worried because sleeping in all those... 1:07 PM
  • La Valkyrietta: “If she is wearing silk and satin she can flatten any Latin…” ;... 1:03 PM
  • kashania: I was quite impressed by Sancho Panza’s aria when I heard Quinn Kelsey sing it in Toronto. I... 12:58 PM
  • kashania: I foresee a Netrebko/Kaufmann/ Garanca Aida either in Vienna or Salzburg within the next 5-6 years. 12:56 PM
  • DellaCasaFan: I’ve been on my Bruna Rasa trip since last night, Mascagni’s favorite Santuzza for... 11:18 AM
  • Feldmarschallin: She also will be doing Eboli at BSO. 11:17 AM
  • Cocky Kurwenal: She’s doing Santuzza this coming season, which I imagine is a first step in the... 11:01 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 »