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Subject: Re: Parsifal: Met Saturday Matinee
From: donald kane <[log in to unmask]>
Reply-To:donald kane <[log in to unmask]>
Date:Sun, 18 Feb 2018 19:13:40 -0500
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I have enormous respect for Mr. Padillo's musical taste, especially
with regard to PARSIFAl, but it's not possible for me to reconcile that
with his acceptance of the Met's current production.  I recall very little
about the singing when I saw it, so horrified I was at the methodical
trashing of Wagner's exquisitely calculated musical effects.  Whether
he loved it or not, to dismiss the traditional staging that preceded this,
as a "story book" view, is insulting to those who designed it, to those
who enjoyed it, and to the composer, who might, at least, have
recognized it.

dtmk

On Sun, Feb 18, 2018 at 8:35 AM, A Katalin Mitchell <
[log in to unmask]> wrote:

> 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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