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Subject: Re: Parsifal: Met Saturday Matinee
From: A Katalin Mitchell <[log in to unmask]>
Reply-To:A Katalin Mitchell <[log in to unmask]>
Date:Sun, 18 Feb 2018 08:35:49 -0500
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You have no idea.... I cant stand this production, not just the chairs but the open graves... I have this beautiful memory of Domingo as Parsifal at the Met sitting in a gorgeous meadow of flowers having his feet bathed by Kundry - now THAT was a gorgeous Easter morning.... loved the beautiful broadcast, and did not have to look at anything.


On 2/17/18, 8:54 PM, "Discussion of opera and related issues on behalf of Jon Goldberg" <[log in to unmask] on behalf of [log in to unmask]> wrote:

    And - since I have only seen stills from the production, instead of seeing it live - what the 
    F*** is it with all the CHAIRS??? 
    
    Mind you, I have no problem with chairs as practical places to sit upon, of course. But it 
    seems to be this manic konzept at the Met (and elsewhere - like the recent Broadway 
    revival of The Color Purple) for chairs to dominate the stage as something oh-so-
    metaphorical. Sometimes a soprano even has to climb over them as she sleepwalks, for 
    god's sake. I'm sick of it. Can we please have a new set gimmick already? ;-)
    
    
    On Sat, 17 Feb 2018 20:17:00 -0500, donald kane <[log in to unmask]> wrote:
    
    >Yes, the problem with all these controversial modern directors is
    >that they think something needs to be happening all the time.  No
    >one who loved and understood that music would do such a thing.
    >
    >dtmk
    >
    >On Sat, Feb 17, 2018 at 7:52 PM, <[log in to unmask]> wrote:
    >
    >> My husband and I were at the MET today for Parsifal. I agree with Donald,
    >> Paul and Bob. Vogt did play the innocent very well. We were not displeased
    >> with him. My big complaint:  during the Good Friday music - why must there
    >> be all this stupid stage business to distract from the glorious music?!
    >> Why do directors think they need to entertain us during orchestral
    >> interludes?  I looked over to my husband and he had closed his eyes -
    >> haha, we were thinking the same thing.
    >>
    >> Sent from my iPhone
    >>
    >> > On Feb 17, 2018, at 7:42 PM, donald kane <[log in to unmask]> wrote:
    >> >
    >> > I thought the Kundry and the Parsifal were adequate, no more; everything
    >> > else, as you,. Bob, and Paul have said, was eminently satisfying.  Most
    >> > satisfying of all is the music.  Putting EVERYTHING else aside, does
    >> > music, as music, get any better than PARSIFAL?  To anyone who says
    >> > how about Mozart and Verdi , I say let's change the subject.
    >> >
    >> >
    >> >
    >> > dtmk
    >> >
    >> > On Sat, Feb 17, 2018 at 6:15 PM, RONALD MAGNUSON <
    >> [log in to unmask]>
    >> > wrote:
    >> >
    >> >> I also was impressed with Nézet-Séguin today, in spite of a tentative
    >> >> start. The slow sections shimmered with etherial string playing and
    >> >> glorious brass utterances.  He has a fine sense of the score and
    >> produces
    >> >> biting accents, crisp rhythms and finely balanced, individually colored
    >> >> ensembles. He knows how to implement an effective ritard to lead to a
    >> >> shattering climax. Really nicely done.
    >> >>
    >> >> I thought that Pape sounded thin with a hint of a hollowed out bass at
    >> his
    >> >> opening phrases but then seemed to gather strength as he progressed.  As
    >> >> was mentioned, his exquisite phrasing and sensitive voice coloring to
    >> shape
    >> >> each phrase produced a masterful interpretation.
    >> >>
    >> >> Vogt's interpretation was highly unusual to these ears, as a young
    >> >> sounding, unheroic Parsifal.  It worked for me as far as the "pure fool"
    >> >> was concerned, but the lack of vocal characterization with the
    >> development
    >> >> of the character became problematic.  Everything that he sang sounded
    >> >> "pretty".  The same approach, the same dynamics, the same phrasing
    >> produced
    >> >> a monotonous result for me.
    >> >>
    >> >> I concur with Mr Padillo's perceptive comments about the rest of a very
    >> >> satisfying DAY of music.
    >> >>
    >> >>
    >> >> Ron Magnuson
    >> >>
    >> >>
    >> >>
    >> >>
    >> >>>
    >> >>
    >> >>> On February 17, 2018 at 5:31 PM "G. Paul Padillo" wrote:
    >> >>>
    >> >>>
    >> >>>    As predicted, while the prima was wonderful, today's matinee
    >> >> performance (as is usually the
    >> >>>    case) this 2nd (and final) broadcast it for the season, was
    >> >> absolutely remarkable. Maestro
    >> >>>    Nézet-Séguin had more "pull" with that spiritual feel (are there
    >> >> better words to describe
    >> >>>    this?) in certain slower sections. There was much in evidence with
    >> >> that vibration in the
    >> >>>    strings again making the score electrifying even in quiet moments.
    >> >> The chorus, of course,
    >> >>>    was exemplary and the music making was at that level one always
    >> >> hopes to experience.
    >> >>>    We did.
    >> >>>
    >> >>>    Rene Pape sounded healthier and stronger in the lower range than the
    >> >> prima, the lowest
    >> >>>    passages firm and elegantly produced; each word of Gurnemanz's
    >> >> narrations weighted for
    >> >>>    maximum impact. His great first act narrative bringing tears to my
    >> >> eyes. Then, as he
    >> >>>    always does in the Good Friday music - presenting only some of the
    >> >> most moving singing
    >> >>>    one will likely hear in this music today. When I first heard his
    >> >> Gurnemanz, years ago, the
    >> >>>    phrasing throughout was perfection, but at:
    >> >>>
    >> >>>    "Das dankt dann alle Kreatur, was all' da blüht und bald erstirbt da
    >> >> die entsündigte Natur
    >> >>>    heut' ihren Unschuldstag erwirbt."
    >> >>>
    >> >>>    just the delivery of "alle Kreatur" took my breath away. It did so
    >> >> again today.
    >> >>>
    >> >>>    I've come to the conclusion Yvegny Nikitin is, hands down, the
    >> >> greatest Klingsor in my
    >> >>>    lifelong obsession with this opera. No one has ever roared, ripped
    >> >> and blasted their way
    >> >>>    through the role, nor presented a more maniacal, masculine menace
    >> >> with such enormity of
    >> >>>    sound than he. While Klingsor is the bad guy, you need one to make
    >> >> the heroes "heroes."
    >> >>>    I am looking forward to seeing/hearing his performance as I am any
    >> >> other element of this
    >> >>>    entire opera.
    >> >>>
    >> >>>    Ms. Herlitzius sounded better - a little "smoother" but still will
    >> >> always be a Kundry of the
    >> >>>    "wildling" order. Her Act II was thrilling and played off of Vogt's
    >> >> boyish hero perfectly,
    >> >>>    adding a "Mrs. Robinson" quality to the proceedings.
    >> >>>
    >> >>>    I didn't think Peter Mattei could do more than he did earlier, but
    >> >> today the totality of his
    >> >>>    Amfortas again was simply heart wrenching. The perfect portrayal
    >> >> despair and anguish that
    >> >>>    somehow made those two things sound never less than beautiful.
    >> >>>
    >> >>>    I've gotten used to applause at the end of Act I, and although I
    >> >> don't applaud still, recall a
    >> >>>    Met Parsifal sometime back, when I didn't applaud, after the first
    >> >> act curtain, and my entire
    >> >>>    row turned and looked at me as though I'd just eaten their young.
    >> >>>
    >> >>>    I cannot, however, abide idiots who begin, as happened today,
    >> >> applauding WHILE the
    >> >>>    orchestra is still playing the final bars. I can forgive and even
    >> >> "get it" at the end of a blood
    >> >>>    'n thunder opera, but Parsifal simply IS NOT an opera you jump in
    >> >> clapping during the last
    >> >>>    bar. A nuisance, but even that could not spoil what was nearly as
    >> >> perfect an afternoon of
    >> >>>    opera as one could hope for.
    >> >>>
    >> >>>    Bravo a tutti to all involved!
    >> >>>
    >> >>>    p.
    >> >>>
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