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May 16, 2006


Lisa Hirsch

I want to hear it conducted by Dohnanyi.

Henry Holland

I had the dire misfortune to go to the Wilson Parsifal a few months ago here in Los Angeles. Hated it with the fire of all the suns in the universe. No, wait, that was how I felt after the utterly ghastly beyond words Lenhoff production that was in San Francisco a few years ago.

The Wilson is just f**king boring--I know he has his partisans, but in my book, he's a fraud and a 1/4 trick pony (the 3/4 of it that would make him a one trick pony died of boredom). His lame Noh meets Modern Lighting style adds nothing and takes away much. Fraud fraud fraud fraud.

Lenhoff, on the other hand, is just dumb. It's always a bad sign when the director has to explain his production in the program notes. In this case, his tortured reasoning for having Amfortas DIE and Kundry LIVE were just risible. Add in to that 3 white walls that hurt my eyes to look at after a while, a big rock stuck in the back wall, a huge pile of sand being dumped on stage *during* the music and.....grrrrrrr no, mustn't type out anymore, it just pisses me off to think about that. Thank Buddah for Kurt Moll as Gurnemanz.

The death of regie theatre can't happen soon enough for me. I'm sick to death of ugly unit sets, chairs and rocks strewn everywhere, singers 40 feet apart when they're madly declaring their undying love, not a tree or flower to be found even when the libretto is rife with references to them etc. etc......no, give me the Met's production any day, week or year.

Maury D'annato

I kept thinking how I'd like to have seen the Wilson Parsifal. The Times review says essentially what I said about his Lohengrin staging making as much as traditional stagings (only 14 years earlier than I said it, oh well):

"What, for example, should happen on stage when Kundry sings to Parsifal for 20 minutes about his mother? Mr. Wilson rejected the notion that there is anything naturalistic about this kind of communication. He decided that it should not be portrayed as a conversation, nor in a typically operatic manner, with the hands held out expressively ("Is it raining?" Toscanini used to ask), but with formal gestures choreographed to the music's phrasings."

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