Cher Public

  • armerjacquino: For Runyan’s birthday- the most beautiful version of ‘I’ll Know’ I’ve ever heard (at 8:36)... 8:11 AM
  • thenoctambulist: Yeah that was why I was so confused about that statement. Thank god I was right. 5:56 AM
  • thenoctambulist: I hope this is an open thread. I keep reading about veiled contralto sound, especially in descriptions about bel canto... 5:54 AM
  • Quanto Painy Fakor: That’s so sweet of you Camille. I really would like to meet you someday. I hope someone posts the video of the... 3:52 AM
  • overstimmelated: P.S. In any case, it would be interesting to know why Maestro Luisi withdrew from the original production. Something... 3:16 AM
  • antikitschychick: Oy vey the break in that extremely long paragraph about SY was a fail; perhaps La Cieca can kindly assist and edit it... 3:09 AM
  • overstimmelated: But what if an irreconcilable disagreement arose in rehearsals over the placement of the prompter’s box (as in last... 3:02 AM
  • antikitschychick: (short) addendum: I forgot to mention that the second disappointment was that the chorus during the Misere sounded... 2:26 AM

The opposite of canard is truth

“Is Parsifal, then, a religious artwork, or is it a work ‘about’ religion? Unsurprisingly, the answer turns out to be: both. More profoundly, however, the very material of Wagner’s drama may be understood to lie in exploring the relationship between the two tendencies.” This week, an anti-canard: words of wisdom from the always fascinating Boulezian.

The music lovers

The curious things about accepted wisdom is that sometimes it’s correct. Take the case of Herbert von Karajan, a conductor whose early work is often considered more powerful and spontaneous (and less self-indulgent) than the stuff on his later recordings. Perhaps nowhere is this more apparent than in his 1952 live Tristan und Isolde from Bayreuth, a bracing account with Ramon Vinay and Martha Mödl that in almost every way surpasses his widely praised 1972 studio version with Jon Vickers and Helga Dernesch.   Read more »

Springtime for Wagner

Could Marek Janowski do for Wagner what the early music movement did for the Baroque and Classical repertory? Though the distinguished maestro is smart enough not to stake any claims of authenticity, his generally fleet, lean-sounding and gracefully shaped interpretations provide a stimulating perspective on works that often invite interpretive overkill. Read more »


Dark side of the moon

Finally some video of Stefan Herheim‘s Salome production shows up on YouTube.

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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.

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One touch of venous

Like the hero of Parsifal, who finds the Holy Grail after a lifetime of frustrated wandering, the Met’s audience was finally rewarded for its patience.

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Ring à la russe

Wagner is becoming an important calling card for Valery Gergiev and the Mariinsky Theatre.

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Leave it to a cat to transform a Wagner festival into the Jellicle Ball.

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Wholly Grail

Certain opera productions become the stuff of legend as much for the circumstances surrounding the performance as for the musical results.

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Twilight of the Machine

“Now that it has become apparent that Robert Lepage‘s production of the Ring at the Met is a fiasco (too soon? Nah.)… well, anyway, since arguably the production is a dreary, unworkable, overpriced mess whose primary (perhaps only) virtue is that it actually hasn’t killed anyone yet, and since, let’s face it, the Machinecentric show turned out to be so mind-bogglingly expensive (all those Sunday tech rehearsals with stagehands being paid, no doubt, in solid platinum ingots!), something has to be done. In this article, I intend to propose that ‘something’.” Our Own JJ gets prescriptive at Musical America. (Image based on photos by Ken Howard)

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