Cher Public

  • The Poet Lenski: Groves for Graves was an autocorrect fail. And I never said that she didn’t sing other roles. But it’s not... 8:31 PM
  • PCally: Here’s another Dido which I’m sure won’t appeal to everyone. I find it exceptionally regal and intense and her... 8:08 PM
  • PCally: Camille she sang the Plaint and the complete Dido. She was finer in the latter IMO, quite restrained and small scaled in a good.... 8:06 PM
  • Krunoslav: True, but Denyce *Graves* also sang Dorabella, Périchole (both in Philly), Federica, Baba the Turk, Maddalena and Margaret... 8:05 PM
  • Krunoslav: I first heard Lindstrom as Menotti’s Madga (CONSUL) at Opera Arizona with a strong cast– Phyllis Pancella, Eugenie... 8:01 PM
  • Camille: About last night— The question that haunts me the most is this: was that FUCHSIA or MAGENTA the diva du soir was sporting?... 6:59 PM
  • Camille: “The same as his Juilliard Rodolfo, which was lavishly praised”R 30;.yes well, wanting to refresh my memory about... 6:30 PM
  • Camille: “Deal me in” aulis. You haven’t even seen nasty yet. 6:13 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 »