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  • m. croche: Cenerentola doesn’t feel like a comedy to me because of its underlying melancholy. Though it... 2:19 PM
  • Regina delle fate: Erzsebet Hazy – there’s a blast from the past! Thanks for the reminder, Buster. 2:15 PM
  • Regina delle fate: Fair enough, Oedipe. No-one is saying you’re wrong. Chacun à son goût as they say. I... 2:13 PM
  • kashania: Cocky: I always assumed it was an E-flat at the end but you’re right that it’s a D.... 2:11 PM
  • luvtennis: Wow, postus interruptis! I was going to conclude that Gruberova’s basic timbre and technique... 1:55 PM
  • Camille: I would gladly give my shriveled old right teat to go to Pesaro, especially to hear that great... 1:53 PM
  • Camille: Claro que si, Guessie querida!!! 1:40 PM
  • luvtennis: Camille: I would cast my vote for two recordings (with a third as supplement) First, the Miriciou... 1:39 PM
  • Buster: I have posted these Massary interviews here before, but they contain so much essential information... 1:38 PM
  • Guestoria Unpopularenka: Es que cuando tu tenias 7 años, California todavia era parte de Mexico?! :O 1:37 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 »