Cher Public

Something With a ‘Ring’ to It

The Metropolitan Opera’s current revival of the Ring offers audiences the opportunity to relive these dramas with a roster of musicians largely plucked from our time’s premier interpreters of Wagner. Cycle II in particular represents an embarrassment of musical riches, as it marks the sole instance when one could simultaneously sample the exemplary artistry of Andreas Schager, Michael Volle, and Tomasz Konieczny within a contained traversal of the four operas.  Read more »

The end is the beginning of the end

Representing the end of the world is a challenge for any opera company, especially when said apocalypse comes as the culmination of eighteen hours of Norse epic. Yet, at the Metropolitan Opera’s Götterdämmerung on Saturday afternoon, the fires which consumed the Gods burned lukewarm, bringing the cycle to an anticlimactic conclusion.  Read more »

Mannes Ehre, ewige mocked

“In this divisive moment in American politics, the Ring may feel newly relevant, epitomized by Michael Cohen, the former lawyer for President Trump, pointing to himself during recent congressional hearings, warning of what can happen when you are dazzled by power.”  Read more »

Get in the ‘Ring’

Wagner’s Ring is an artistic masterpiece that is peerless in its ability to continually reveal layers of musical, theatrical, and philosophical insight every time I revisit an interpretation of this score.  Read more »

Baby the rain must fall

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.

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Human, all too human

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

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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.

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San Francisco, open your Rheingold gate

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.

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