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  • Krunoslav: Nadja’s best option at this point? JOSEPHSLEGENDE. 2:15 AM
  • Lohengrin: The points for her decicion, to do Aida in London cond be “the conductor and the... 1:26 AM
  • Buster: 2019 – and she wll be just in it, it is not composed for her, I see. More details, including a... 12:55 AM
  • Buster: Nadja returns to the Met in an opera composed especially for her by Osvaldo Golijov. 12:50 AM
  • Camille: Hi, scifisci—lon g time no see. Yes, I corroborate with you about Lee, as I saw his second or... 11:14 PM
  • scifisci: Kaufmann is a special artist but I would not be that disappointed that Lee is filling in or that... 10:44 PM
  • Camille: Feldmarschie, hahahahaha! I just now saw your reference to Jackie O! I am sorry to disappoint your... 9:49 PM
  • Lady Abbado: Finally a glimpse into Angela Gheorghiu’s take on the role of Charlotte: http://staatsop... 9:37 PM
  • Camille: I thought she was pretty good as the Jaroslavna as well, and we had been warned by œdipe about the... 9:36 PM
  • Camille: I haven’t forgotten her at all because she is my favourite, by a landslide, because she could... 9:31 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 »