Parsifal: An introduction (The Royal Opera)
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- Опубліковано 18 гру 2013
- Simon O'Neill, Stephen Langridge, Alison Chitty, Angela Denoke, Antonio Pappano and René Pape on characters and ideas behind this new production of Parsifal: www.roh.org.uk/parsifal
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This production was embarrassingly wrong on every level imaginable.
Parsifal was the first Opera I ever saw live. It was December 2007 and I was really treated: Sir John Tomlinson, Sir Willard White, Chris Ventris and Falk Struckmann were all in the cast, conducted by Bernard Haitink!
Awesome commentary!!! I gotta hurry up and get this. The music director saying that in Parsifal Wagner manages to suspend time and that's what's so needed in our unreflective world was so insightful. Thanks.
amazing! A very intelligent staging that includes breathtaking ideas keeping up the suspence during the entire opera. Pappano and his Roh Orchestra are outstanding. There is barely a production that compares with this one nowadays... in my opinion.
🌞...
Bravo! A wonderful broadcast on the
"eternal bone of contention" Wagner. Richard Wagner --- Thanks for this fairness.
I wish directors would view themselves as conservationists and not reinterpreters. These works are timeless and don't need any bringing up to date. Directors think they're making the opera more relatable but they are in fact alienating contempory audiences even more. We end up with ugly and nonsensical productions accompanied by beautiful music, like some kind of sick joke. I don't blame ordinary people who see such productions and decide that if that's what opera is about then it's artsy fartsy bullshit that they'd rather not bother with. If you want to attract more people to get into opera then offer what the world so desperately needs right now: Beauty.
Thank god for Wagner's magical music, because the ridiculous productions are anything but magic. Just close your eyes to the schlock and enjoy every note.
Very true. Wagner is a prey to directors who want to exhibit their postmodern obsessions. The ugly scenery contradicts the meaning of this sublime work. Wagner gave precise indications for the scenery in his score. Why ignore them?
@@christianwouters6764 I agree with this. Still I think that this production has come out very well. It does not missuse the story for the sake of a crazy director
Ich liebe Opernmusik generell aber nur die Musik Wagners fasst mich emotional so sehr an. Besonders Parsifal berührt mich zutiefst. Jaap van Zweden mein bisheriges Lieblingsdirigat.
Why is it so hard to find a Wagner production which is not 'modern'? The mythical realm was the cornerstone of Wagner's work! No one would suggest Lord of the Rings ought to be adapted to a modern setting, so why the Ring of the Nibelungs?
I just find it baffling.
I did like the famous Boulez/Chereau 1976 Bayreuth performance……though it was “controversial” at the time, though, you could hear Wieland Wagner’s hoofbeats, keeping it from getting too out of hand. I’m convinced that these “modern” Eurotrash productions are just cheaper.
Brings tmind BABY ONE MORE TIME (Britney Spears)
I'm convinced the stories of Wagner, especially this one, are ridiculous and simplistic, and the only reason people find so much meaning in them is because of their fantastical quality and the quality of the music.
The stories are usually based on myths/legend, so it’s not like he conceptualised the stories himself. He wrote his own libretto, of course
@@lefinlay I'm perfectly aware: they still suck.
@@Manx123 so the myths are ridiculous and simplistic; not Wagner. His is just a retelling/adaption
@@lefinlay The final result, which is this place, has a ridiculous and simplistic story.
Imagine if somebody made an opera based on Goldilocks and the Three Bears. That would actually make more sense, but it would be even more simplistic, and it would be bad.
Horrible set design. Stop trying to be clever.