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The Met: A Three-Part Series

Cher Public

  • Camille: Thanks. It has been continual for two days now 10:25 PM
  • Carlo: Nabucco in Baltimore is available on Goldstar for about half-price. 10:16 PM
  • JackJack: “But it’s not surprising that with McCormack eventually became an exclusive recitalist,... 10:05 PM
  • zinka: Yes..they were among the worst..along with Mario Ortica and Primo Zambruno..plus Giulio Gari..we had... 8:30 PM
  • Jungfer Marianne Leitmetzerin: No, Regina: Nuotio and Parley sang only Wagner roles at the Met, but... 8:02 PM
  • Milady DeWinter: “A hearty thanks to Coloraturafan̶ 1; for including O’Flynn̵ 7;s Elvira-... 7:55 PM
  • Milady DeWinter: Oh for sure, almavivante – that aria is sort of the “Il balen” of the... 7:52 PM
  • Regina delle fate: Scotto was mercilessly booed as Norma at the Met, I recall….. 6:36 PM
  • Regina delle fate: Didn’t she just have a success at the Met as Musetta, Grim? THat’s what we... 6:35 PM
  • Regina delle fate: Ticho Parly and Pekka Nuotio sang Pinkerton at the Met? 6:33 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 »