Miss Mussel like most things and has, as such, a broad range of tastes. Monster trucks have a certain appeal, for example, as do acrylic paintings, the ballet and chili-flavoured truffles.

A long-time resident in the Do-Not-Like column is the music of Wagner. There are some exceptions of course. The Tannhauser Overture was one of first classical pieces Miss Mussel owned and big horn excerpt at the beginning of the 3rd act of Lohengrin was always a delight to rip into.

It’s the cult of The Ring that has always put Miss Mussel off. The Ring is expensive, perscriptive, restrictive and the blind adulation that seems to be the norm at these things is a little creepy.

Like aliens or dinosaurs, the Church of Bayreuth is terrifying and therefore fascinating. The ratio between the two has been safely hovering at 2:1 or better for years but then Intermezzo posted this.

Miss Mussel knows Robert LePage’s work from The Nightingale And Other Fables premiere at the COC last autumn. His work is utterly magical down to the smallest detail, which is bad news. Now the terrify/fascinate ratio is tipping dangerously close to 1:1, with occasional excursions to 12:13. Looks like it’s time to re-examine existing prejudices. Shit.


  1. I saw that trailer during the Met’s HD broadcast of Armida, and I had the exact same feeling. I’m thinking of it as part of an ongoing research project into the question of why people go completely gaga about Wagner.

  2. Chickenfeet2003

    I’m not a Wagner fanatic but I think the Ring offers interesting possibilities and I fully expect Lepage to come up with his own take. Did you see the recent ROH Ring? It had a sort of steampunk with zombies aesthetic that I rather liked.

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