The eventually reopened Metropolitan Opera promises a swift return to its status quo ante as a farm team for the English National Opera, sharing the London company’s new Ring cycle directed by vieillard terrible Richard Jones.
As previewed earlier this week, Los Angeles Opera presents a Ring marathon this weekend.
Cycle II represented an embarrassment of musical riches.
At the Metropolitan Opera’s Götterdämmerung on Saturday afternoon, the fires which consumed the Gods burned lukewarm.
When Anthony Tommasini finds more political content in the Ring than your stage director does, you’re doing it wrong.
Wagner’s Ring is an artistic masterpiece that is peerless in its ability to continually reveal layers of musical, theatrical, and philosophical insight
As Brünnhilde invokes the gods of an empty Valhalla for one last time and strides confidently into a wall of flame, we pause for a moment, unsure of what will follow.
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.
Casting the Ring as a parable for the state of the current world, seen through the eyes of a progressive urban opera lover (and not an early German nationalist), offers us soothing self-justification.
La Cieca’s familiar spirits have been turning their generally steely eyes to the Future Met Wiki, attempting in vain to make sense of impending repertoire and casting at Casa Gelb.
Revealed: first images of Frank Castorf‘s production of the Ring, launching Friday at Bayreuth.