Twisted sisters Twisted sisters

Nina Stemme’s Elektra always seemed the sanest individual onstage never quite giving over to obsession or hysteria with a good line in mordant sarcasm and contempt.

The big cube The big cube

Ludwig van Beethoven’s “rescue opera” Fidelio was presented by San Francisco Opera as their first new production of the season last Thursday in reinterpreted fashion.

Something With a ‘Ring’ to It Something With a ‘Ring’ to It

Cycle II represented an embarrassment of musical riches.

Teenager in love Teenager in love

Stefan Vinke’s Siegfried was not so much brawny and terrestrial, but heady and mercurial

Oh my goddess! Oh my goddess!

Die Walküre crystallizes the cycle’s questions, ideas, and stakes.

Domino theory Domino theory

The Metropolitan Opera delivers on the promise of Wagner’s Gesamtkunswerk in a revival of Robert Lepage’s Ring.

Human, all too human Human, all too human

Siegfried is, in a sense, The Ring’s odd one out.

The hipster demigoddess The hipster demigoddess

If Das Rheingold is an opera about infinitude, the illusory idea that the world is large enough to satisfy all of our desires, passions, and lusts, Die Walküre is an opera about scarcity.

Reunited Reunited

There is much to say about the similarities between the plot of Fidelio and the ancient myth of Orpheus.

Wahn for a day Wahn for a day

Die Meistersinger is a bold stroke of programming, in a not particularly exciting way.

Walvater knows best Walvater knows best

There is a mighty appetite among both old Wagnerians and new ones to see a Ring that follows—if not too slavishly—the scenic requests of the libretto.

Bark, not Bayreuth Bark, not Bayreuth

Is Der Ring des Nibelungen responsible for the transformation of Seattle from a gray, damp, low-rise Boeing company town where half the jokes had punchlines in Norwegian (and were about lutefisk in any case) into today's booming cultural metropolis? I like to think so.

Mystery date

The moral of Lohengrin is clearly set out: Don’t talk on your wedding night. Even more important, don’t sing. Happily, at Lyric Opera of Chicago, Johan Botha in the title role and Amber Wagner as Elsa of Brabant ignored this advice. 

Similes of a summer night

Blazing Jupiter, the Jovial Star, my personal magical azimuth, plus Perseid meteors wafting about, burning out as do our souls, as we arrived home from Seattle Opera’s new production of Tristan und Isolde.