“Something great in itself”
Now we have considered the three “winners” in the Tristan competition, let’s turn to the also-rans, or, to be more optimistic, the runners up.
Now we have considered the three “winners” in the Tristan competition, let’s turn to the also-rans, or, to be more optimistic, the runners up.
Patrice Chéreau, the humanist in provocateur’s clothing, returned to Wagner in 2007 at La Scala with Daniel Barenboim and Waltraud Meier.
“Never in my life having enjoyed the true happiness of love I shall erect a memorial to this loveliest of all dreams…”
Your alte Jungfer’s requisite Kuschelkatze (pictured) arrived on my doorstep in Mariahilf with the name of Tristan.
Just 85 years ago, four of Italy’s greatest opera stars gathered at Teatro all Scala for an historic event: the first-ever recording of Arrigo Boito’s sole complete opera, Mefistofele.
“Trove Thursday” offers a Der Fliegende Holländer from New York City Opera featuring the underrated American soprano Johanna Meier.
Perhaps the most admirable project of Dominique Meyer’s Intendanz at Wiener Staatsoper is the traversal of the operas of Leos Janancek,.
WNO’s first complete Ring Cycle continued Monday evening with a revamped version of the Die Walküre first seen at the Kennedy Center in 2007.
“I will never sing the role again. It was frightful. We were a set of madwomen…There is nothing beyond Elektra. We have lived and reached the furthest boundaries in dramatic writing for the voice with Wagner. But Richard Strauss goes beyond him. His singing voices are lost. We have come to a full stop.”
Live recordings of Hans Knappertsbusch conducting Parsifal seem to proliferate like stairways in M.C. Escher prints.
Pierre Boulez continuously challenged me and totally changed the way I listen to music.
On Thursday evening Jennifer Wilson “finally” made a belated, disappointing Met debut as Turandot.
The production by Sebastian Baumgarten is the type of regietheater that’s not a rethinking or reconstruction, but just a hot mess.
Anja Silja staked a claim as a leading Senta of her era with a series of searing performances of Der Fliegende Holländer while in her early twenties.
It seems almost comical to think now but the designer-director Jean-Pierre Ponnelle, who died in 1988, was at one time considered the height of regie-theatre scandal.
Herbert von Karajan once said listening to some of his old recordings made him envy painters who could simply burn the pictures they disliked.
The curious things about accepted wisdom is that sometimes it’s correct.
If Frank Castorf‘s work on Der Ring des Nibelungen at Bayreuth accomplishes nothing else, it should serve as a sort of loud disorganized reminder of the dangers of indulging in the intentional fallacy.
The 1965 season was a time of big changes at the Vienna State Opera.
I’m told that the public were, if hardly enthusiastic, at least ambivalent toward the Frank Castorf Ring up until the first performance of Siegfried, at which point things got really ugly and the booing started in earnest.
The complete recording of Der Ring des Nibelungen conducted by Christian Thielemann at the Bayreuth Festival is now on sale for only $5.99. And, no, I am not making this up.
A new CD features the ten most gorgeous minutes recorded by a tenor in Wagner since World War II.
Since 2010 I’ve been reading nothing but horror being heaped upon the Met’s new Ring. It’s been like a cross between a cruise ship size buffet spread of internet snarking and a slasher film re-cast with music critics.
This Hans Neuenfels staging for the Bayreuth Festival caused quite a stir at its 2010 premiere, but now, with time and distance, how radical is the production?
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