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Cher Public

  • Clita del Toro: I watched about half of The Requiem as I didn’t know it was on. I did enjoy it. 12:04 AM
  • 98rsd: Am I missing some key fact? Is there a reason an orchestra member SHOULD be paid more “than,... 12:00 AM
  • steveac10: Who said anything about outsourcing? I said there are innumerable qualified applicants for that... 11:56 PM
  • Constantine A. Papas: To change the subject: did anyone watch Verdi’s Requiem with LA Philharmonic on... 11:56 PM
  • steveac10: I said nothing about glamour. I also think you are underestimating the pool of talent that would... 11:48 PM
  • ianw2: I hadn’t responded as I haven’t read the 2012 book- I’m drawing on what I know... 11:40 PM
  • DellaCasaFan: It sounds from his subsequent response to ianw2 that the quality-adjusted productivity was not... 11:35 PM
  • ianw2: I should’ve added ‘public̵ 7; to the description of ‘cheerleader ’.... 11:23 PM
  • ianw2: Since you brought it up, the HDs could be argued as a way of increasing productivity with a fixed... 11:22 PM
  • La Cieca: i love the assumption, for example, that members of the met orchestra really don’t deserve to be... 10:56 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 »