Headshot of La Cieca

Cher Public

  • Lurker_del_Cairo: Not enough! They need to BURN THOSE BAGS TO THE GROUND! :wink: 6:42 PM
  • La Valkyrietta: :) You flatter me Dabrowski, or jest; whatever, it is funny. To go to your questions,... 6:42 PM
  • parpignol: they first inspected the bags, and then made (only the men) check the (already inspected) bags... 6:20 PM
  • Lurker_del_Cairo: You had to check your bags? Or did they just inspect them like they do with women’s... 5:56 PM
  • Krunoslav: Question addressed to zinka, bien sur. 5:55 PM
  • Krunoslav: Do you mean the dropping out before the interpolation or the flat, awkward cutoff at the end of... 5:54 PM
  • Krunoslav: Q; How many of those male dancers in the 1958 WONDERFUL TOWN clip were at THE Judy Concert? A:All... 5:47 PM
  • Blanche Tourterelle: Not an expert, but Kirsten Fladstad sang the premier of Vier Letzte Lieder in London in... 5:16 PM
  • Dabrowski: First of all, I am honored to be addressed as “mon cher,” LV; it feels like I’ve... 4:58 PM
  • Dabrowski: And by filth I mean Bocelli, of course, not Corelli! 4:54 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 »