The Bayreuth repertory continues today with a revival of the final triumph of the Wolfgang era, Parsifal in the production by Stefan Herheim, conducted by Daniele Gatti. The broadcast begins at 10:00 AM EDT on a variety of stations detailed at Operacast. Naturally La Casa della Cieca will be open for comments and especially questions.
This morning, live from the Bayreuth Festival, you can hear the premiere of the Thomas Hengelbrock/Sebastian Baumgarten production of Tannhäuser. The broadcast proper begins at 10:00 AM EDT. For a list of web stations offering this program, go to Operacast, and naturally La Casa della Cieca will be open for the Chat Contest. (Photo © Bayreuther Festspiele/Enrico Nawrath.)
Here goes with the End of the Gods and the End of these Ring reviews:
Götterdämmerung was more of a mixed bag than the other operas, but still left a powerful impression. This was where Zambello’s choice to steer clear of heavy spectacle was most evident to me. The cost in grandeur was offset by an absence of dumb bombast and a gain in intimacy and character definition. I don’t know how well that last factor would hold up in a revival director’s hands, but on the whole she made the approach pay off handsomely. Read more »
Five decades before the Met turned to computer-assisted planks to help tell the story of Wagner’s Ring cycle, the company stirred controversy and comment with another staging of the tetralogy. General Manager Rudolf Bing imported a stark, abstract production from the Salzburg Festival in order to secure the services of Herbert von Karajan, who not only conducted but hand-picked most of the cast and insisted on supervising everything from lighting to blocking of the principals.
The Bay Area Chapter of Parterre (pictured) would like to invite all out-of-town Parterrians for a social schedule of sniping, snarking, and general conviviality (hair-pulling strongly discouraged) during the three cycles of the San Francisco Ring.
UPDATE: The Met’s press office states, “At the beginning of Act III (‘The Ride of the Valkyries’ scene) of last evening’s performance of Die Walküre, one of the planks that comprise the set descended to the stage floor rather than stopping opposite the stage apron. As a result, the artist singing Siegrune, mezzo-soprano Eve Gigliotti, slid down the plank as planned but landed on the mainstage floor behind the apron. The mainstage is approximately 3 feet lower than the apron. The error was due to a misheard cue. Ms. Gigliotti, who was not injured, left the stage briefly but returned [...]
“Director Robert Lepage’s obsession with eye-popping visuals showed little concern for the work’s complex intellectual and moral dimensions.” [New York Post]
When La Cieca is asked the secret of a successful chat for the opening night of Die Walküre at the Met, her answer is “a comfortable desk chair.” And so, wishing you, the cher public, the best of luck with your Sitzfleisch, here are the details for tonight’s chat, which begins at 6:30 pm.
Cher Public