Cher Public

  • mrsjohnclaggart: Thank you, PorgyAmor. 3:12 AM
  • Porgy Amor: Here is the longer of the two versions of the much-discussed (but hitherto not linked) Washington Post article.... 2:11 AM
  • m. croche: httpv://www.youtub e.com/watch?v=r0qE UMX2UaE 1:52 AM
  • NPW-Paris: Thanks for your comments. Actually, the blog’s name was a friend’s idea. It wasn’t specifically about leaving... 1:51 AM
  • OpinionatedNeophyte: Oh yeah. It totes makes sense to ask black men, still least likely to get hired and first to get fired, their public... 1:41 AM
  • Ruxxy: I suspect the public face would say the same thing. A white Otello is as ridiculous as a one legged Tarzan. It’s just a pity... 12:57 AM
  • antikitschychick: steveac10 asks: “If a work of art offends some because of attitudes it portrays that were accepted at the time of... 12:53 AM
  • m. croche: Aiyo, I botched the nesting. This was in response to Steveac above. 12:51 AM

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 »