Cher Public

  • dr.malatempra: Indeed, the finest Verdi baritone singing I have heard since the prime of Cornell Macneil or the young,(Goldovsky Opera... 12:52 AM
  • Rosemont: Thank you for the reports and reviews from Santa Fe! I will be there for the first time first week of August…und freue... 12:25 AM
  • Lohenfal: Sure, but as I said, they (or others) may not be available. These singers are signed up way in advance. One never knows what... 12:11 AM
  • Sanford: She is terrific but the men are pretty awful, especially the tenor. The other voice I liked was Margareta Elkins. 11:34 PM
  • Krunoslav: ‘Rousseau’s ‘Dalle stanze” (well sung) is baritonal, the bass element in his tone all but lost…’ Old... 11:29 PM
  • mjmacmtenor: Wouldn’t Fidelio be good for Stemme (now finally singing at the Met) or Goerke? 10:55 PM
  • Camille: What you have to say has been exactly my experience as well, that is, you can find really admirable and superior performances of... 10:50 PM
  • lyrebird: Howdy Sutherlanders- Brian Adams’ La Stupenda’ also devotes pages to the Lucia first night and notes ”... 10:05 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 »