Hilarious.

Wagner misses my spot every time. Cresswell's never forgiven me.

I doubt Die Meistersinger is more boring than Parsifal. But when you enter the realm of unmelodic Wagner, which is most of him, you encounter pseuds. Here again I quote Tchaikovsky:

I have always had the impression that those Wagnerians who are not professional musicians affect an enthusiasm which in their heart of hearts they do not really feel. Wagner, as I see it, killed his tremendous creative power through theory. Every preconceived theory cools one's spontaneous creative feeling. Could Wagner give himself up to such a feeling any longer after he had grasped through reason some sort of peculiar theory of music drama and musical truth, and after he had voluntarily renounced, for the sake of this alleged truth, all that constituted the strength and beauty of his predecessors' music?! If in an opera the singers don't sing, but merely utter, accompanied by deafening thunder from the orchestra, various hastily grafted-on, colourless successions of notes against a background of a splendid, but incoherent and formless symphony, what kind of opera can that possibly be?! However, what really astonishes me is the earnestness with which this over-philosophizing German illustrates by means of music the most incredibly stupid subjects. I mean, who could possibly be moved by the plot of Parsifal, where, instead of people with temperaments and feelings that we are familiar with, we are shown various fairytale figures who might perhaps be suitable for embellishing the content of a ballet, but never that of a drama? I am surprised that anyone can listen, without succumbing to laughter, or rather to boredom, to these figures' endlessly long monologues about the various spells from which all these Kundrys, Parsifals, etc. are suffering!!! I mean, is it possible to empathize with them, to be filled with heartfelt sympathy for them, to love and hate them? Of course not—because their sufferings, feelings, triumphs or failures are utterly alien to us. And what is alien to the human heart cannot be the source of musical inspiration.

I'll leave this gem up for one more day, in the hope there'll be further reports on its effect on folks' clitorises. I've always said that value-swoon is engendered by that which hits the spot.

I only have the Eugene Ormandy/Philadelphia orchestra version. Says on the sleeve "Still at work on The Ring, Wagner saw Die Meistersinger von Nurnberg, his only comic music drama, performed in 1868, after four years of work on the first act alone. Not until 1876 was the complete Ring staged." That's foreplay huh?

I have post Opera Class Traumatic Syndrome over Die Meistersinger von Neuremberg.

I was lucky enought to take an opera class in high school with someone who had connections at the Met. She loved Wagner. Holly cow (saving swear words for when really needed) I can't tell you how boring this opera is. In fact, I won't.

Oh God, if there is a God, guard my clitoris if I have a clitoris.

Ha. Umm... nope, no numbed clitoris effect here. I guess it does bang on some, and can wear down your resistance with its length? But it sustains momentum & you can't be quite sure whether it's an end or if it's off again.

... has just panned it to be privately because it's "like someone stampeding toward my clitoris producing nothing more than a numbing effect."

You didn't find that, did you Sam?

Love this. Yup, a great melody. Stirs resolve.