Cher Public

  • antikitschychick: Evening Everyone, First of all I apologize for taking so long to report back about my recent quadruple dose of operas... 12:34 AM
  • DerLeiermann: I fear Miss Netrebko might not be as photogenic as I first thought. On camera she can look a bit plump and,ocasionally, too... 11:47 PM
  • DeepSouthSenior: I’ve said here several times that I’m not a big fan of opera in audio only (except for Baroque). Opera is... 11:31 PM
  • DerLeiermann: Thank you for this info , Donna Anna. I’ll see if my theater has the encores. I suppose I should also consider... 11:26 PM
  • DerLeiermann: Wow, this is pure TRASH. I can’t believe it won 4Tonys. (Though know that I know against they were won to it makes... 11:18 PM
  • Batty Masetto: Surprising to read here about the production being dark in HD – it looked very good in our theater, no problems with... 11:11 PM
  • Krunoslav: When I see those COCO clips, I have always wanted to throw things. Everyone knew she could neither sing nor dance, but to me... 10:48 PM
  • Camille: Uebermächte, dammit! Now goodnite, mother! 10:47 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 »