Michael Tanner in The Spectator on opera is always a joy to read not least because of his often jaundiced views. For example, his recent piece on Lucretia Borgia begins with a moan about ENO being in terminal decline. I disagree. http://www.spectator.co.uk/arts-and-culture/featured/6684933/deriding-donizetti-.thtml
The current production of Wagner's Parsifal, first seen in 1998 and is this is to be its last presentation. The reviews, at least the one's I have read, have been glowing. http://www.eno.org/parsifal/preview-press.php
John Tomlinson, my fellow Lancastrian, sings Gurnemanz. Nicolas Lehnhoff directs.
More after I have seen it. Anyone else going?
My first trip to the Coliseum in 20 years and my first exposure to Wagner at the opera. Well it took my a while to get used to the lack of an "aria-recitative-aria" structure, and much of the first two acts seemed to be people telling other characters the back story. By Act 3 I'd got used to it, was fully alert, and by the end I was captivated.
ReplyDeleteThe performance of course was flawless and I'm now much less afraid of Wagner. The story is fascinating and I can see how it had generated so much debate over the years. I prefer the moral responsibility take on it and perhaps there are parallels to counselling and psychotherapy in there. And that redemption is about community and not just repentance.
As my first Parsifal I can't really compare this production to any others. The fleeting clumsy unconvincing grapple for the Spear of Destiny raised a few giggles in the Upper Circle as did Klingsor's attempt to persuade Kundry that the approaching Parsifal is a handsome fellow. The pure fool had a great voice but I couldn't help thinking that he would have done better spending more time shooting geese and less time eating pies.