Cher Public

  • antikitschychick: Haha can you tell I was excited?? They sang back to back show-stopping arias for sure, even though they were technically... 9:36 PM
  • davidzalden: Thanks so much for the lovely thought — I have not had the opportunity to see this Guillaume Tell but I have heard from... 8:58 PM
  • Batty Masetto: Lowe-Porter is always a trudge. My students have regularly made more accurate and entertaining translations of Mann than... 8:52 PM
  • wenarto: Poor Anna, now the same rank as me httpv://www.youtub e.com/watch?v=dgmM mywY2MY 8:43 PM
  • manou: Henry – sorry about the Times review. We agreed with La Cieca that I would not copy and paste whole reviews for copyright and... 8:40 PM
  • wenarto: OMG yes I agree 8:38 PM
  • Henry Holland: Many thanks for the link, manou, I had to read this twice to make sure I got it right: To include all the opera’s ballet... 8:30 PM
  • antikitschychick: Hey Luv :-) Yes there were some flaws, and those who prefer a more italianate rendition would have reason to be... 8:15 PM

Herrn Tristan bringe meinen Gruss

Our dear friends over at Opera Depot are slashing prices in half on all their recordings of Tristan und Isolde in honor of the music drama’s 150th anniversary. And there’s a free “Liebestod” compilation download too!

Love it to death

Mariusz Trelinski will direct Tristan und Isolde for the Metropolitan Opera in a production that will premiere there on opening night 2016. (The image is from Trelinski’s production of Krol Roger at the Edinburgh International Festival, photo by Marek Grotowski.) [New York Times]

No such Gluck

Mozart tinkered with the Messiah. Mendelssohn adapted choral works by both Handel and Bach. But when Richard Wagner reached into the past and revised Gluck’s Iphigénie en Aulide, he went beyond the accepted boundaries of tinkering and more or less created a new work that’s fomented aesthetic debates ever since.   Read more »

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Hothouse flower

To some, Anne Schwanewilms will always be the soprano in the slinky black dress who replaced Deborah Voigt at Covent Garden a decade ago.

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Sex please: we’re British

The finer performances of Tristan und Isolde have a way of sounding like a four-hour improvisation, the fruit of a single moment of inspiration that makes one forget how emotionally manipulative and painstakingly crafted the music really is.

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The cup runneth over

I am grateful to Sony for this new release of the Metropolitan Opera’s latest production of Parsifal and I hope I’m not the only one who discovers what a rich experience this opera can be because of it.

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Brass ring

Marek Janowski’s survey of Wagner operas on PentaTone so convincingly captures the pulse and dramatic flow of many of the works that the music-making at times sounds almost effortless.

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Critical care

The experience of watching Wagner’s final opera Parsifal is frequently elevated to a spiritual occurrence, and productions have historically emphasized the religious dimension of the opera’s core themes of redemption and the dangers of temptation.

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Coupe de grâce

Our good friends at Opera Depot are currently offering a free download of Parsifal conducted by Hans Knappertsbusch at the 1963 Bayreuth Festival.

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The opposite of canard is truth

“Is Parsifal, then, a religious artwork, or is it a work ‘about’ religion?”

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