Enjoy the RING on KING FM

Wagner’s Das Rheingold, 2005 © Rozarii Lynch

Enjoy Seattle Opera’s internationally beloved Ring cycle broadcast on Classical KING FM 98.1 or king.org at 10 a.m., Feb. 6 (Das Rheingold) 7 p.m., Feb. 9 (Die Walküre), 7 p.m., Feb. 11 (Siegfried), 10 a.m., and Feb. 13 (Götterdämmerung). Learn more at seattleopera.org/kingfm.

Seattle Opera will offer a broadcast of its most popular production of all time—Richard Wagner’s Ring cycle this February. Tune in to Classical KING FM 98.1 or king.org to enjoy a 2005 recording of the four-day opera. This “cycle” includes: Das Rheingold on Feb. 6, Die Walküre on Feb. 9, Siegfried on Feb. 11, and Götterdämmerung on Feb. 13.

From 1973 to 2013, Seattle Opera built a reputation for its grand presentations of Wagner’s Ring. Bringing in fans from all over the world, Seattle’s production received acclaim from The New York Times, The Wall Street Journal, and Opera News. For many people, going to Seattle for the Ring became like any beloved annual pilgrimage, like Burning Man or Santa Fe Opera—or Disneyland. Now, diehard Wagnerians, as well as newcomers to opera, can give their pandemic listening an epic upgrade with this exclusive radio broadcast

Praise for The Flying Dutchman

Rebecca Nash (Senta). Philip Newton photo

"(Stage Director) [Christopher] Alden returns to Seattle after a long hiatus. He was last invited here for a Don Giovanni in 1991 that reportedly generated a heated audience backlash. Kudos to general director Aidan Lang for inviting him back: Dutchman, which closes Lang's second season at the helm, signals a serious commitment to opera and is the finest production the company has staged to date under his watch."- Bachtrack 

"['The Flying Dutchman'] clocks in at under two and a half hours (without intermission)... the impassioned singers, the clever staging and the imaginative sets are so consistently engaging that Seattle Opera’s performance just speeds by." - The Seattle Times

Members of the Seattle Opera Chorus in The Flying Dutchman. Philip Newton photo

"On Saturday night in Seattle, in a revival of this Canadian Opera Company 1996 production, what happened on stage can only be described as stunning ... I was left gobsmacked unable to write-so moved I was by this show. It has taken me 24 hours to recover." - National Opera Journal

"Director Christopher Alden makes full use of the ingenious Allen Moyer set, with elements that quickly switch locales from shipboard to shore without any major breaks in the action. Anne Militello’s inventive lighting designs underscore and clarify the story line with jaw-dropping effects." - The Seattle Times

Seattle Opera presents The Flying Dutchman. Philip Newton photo 

"Seattle Opera’s production of Wagner’s The Flying Dutchman opens with one of the most arresting curtain-raisings I’ve seen from the company: the cast filling Allen Moyer’s set, a cavernous box-within-a-box that is tilted 10 degrees or so off level. It’s an immediate cue that this isn’t going to be a traditionalist staging..." - Seattle Weekly 

"The Seattle Opera Chorus sang with gripping vitality, even while executing some [vigorous choreography]." - The Queen Anne News

"Wagner intended the opera to be presented without breaks between acts and the Seattle Opera in this production honors his 'through-composed' vision to great effect. (And for those who were a little scared of being subjected to 2.5 hours of uninterrupted opera the program likened it to the length of time we all have sat through a movie)." - The Seattle Times

Nikolai Schukoff (Erik). Philip Newton photo

"This cast boasts two excellent tenors with fresh, flexible, lovely voices: David Danholt as Erik, Senta’s betrothed, rightly peeved when she decides to wed the Dutchman, and Colin Ainsworth as the ship’s Steersman. Danholt was a winner of the Seattle Opera’s 2014 Wagner Competition, Ainsworth is making his company debut; I hope they both return soon and often." - Seattle Weekly

"In Saturday’s opening-night cast, the great strength and experience of the principal singers brought an unmistakable authority to their performances." - The Seattle Times

"The Dutchman was played on this night by Greer Grimsley. Grimsley has a swarthy dark voice that while powerful, is also versatile. It is easy for these Wagnerian singers to belt their way (at their peril) through these roles, but Grimsley always finds the color and the essence of the character." - National Opera Journal

Greer Grimsley as The Dutchman. Philip Newton photo

"In his Seattle Opera debut, Nikolai Schukoff as Erik, the huntsman in love with Senta, was as much the star of the evening as Grimsley and Nash. With his warmly expressive tenor, Schukoff was heart-rending in Act 3 reminding Senta in vain about her previous vow to him of love and fidelity." - The Queen Anne News

"In Saturday’s opening-night cast, the great strength and experience of the principal singers brought an unmistakable authority to their performances. The Dutchman, bass-baritone Greer Grimsley, is a familiar figure here (most impressively as Wotan in Seattle Opera’s “Ring”); he probes every nuance of the title role as a captain doomed to sail the seas in a ghost ship until he is redeemed by true love. With Grimsley’s commanding stage presence and resonant voice, this is a role that suits him admirably, and one he has frequently sung. The experience shows." - The Seattle Times

"Allen Moyer's unit set was an austere rectangular box dominated on one side by a massive steering wheel and a metal spiral staircase on which the Dutchman's 'ascension' played out in the denouement. The exaggerated tilt of the box recalled the Expressionist atmosphere of films like The Cabinet of Dr Caligari. In the opening scene this served handily as a 'realistic' representation of Daland's storm-tossed vessel." - Bachtrack

Members of the Seattle Opera Chorus in The Flying Dutchman. Philip Newton photo

"His Senta, Australian soprano Rebecca Nash, is making her Seattle debut — and what an interesting debut it is. Nash is a passionate singing actor with a voice of considerable heft and power." - The Seattle Times

"The Steersman, Colin Ainsworth, [was] the most lyric voice on the stage. Vocal beauty is still important in Wagner, and Ainsworth brought loads of it." - National Opera Journal

"Nikolai Schukoff, as her unsuccessful and hapless suitor Erik, is an ardent singer who becomes a tragicomic figure in this staging, with exaggerated attitudes of suffering that draw some audience laughter. (Alden has him attempting suicide in several positions with a rifle whose barrel is too long for the task.) You’d think that chuckles might be inappropriate in this ultraserious opera, but they humanize the characters and give more poignant depth to the denouement." - The Seattle Times 

Wendy Bryn Harmer (Senta) and Alfred Walker (The Dutchman). Philip Newton photo

"... Wagner was well aware of the dangerous potential art possesses when the goal is no longer escapist entertainment. So is director Christopher Alden, whose production (originally created for Canadian Opera Company two decades ago) mirrors the young composer's sense of thrilling new horizons beyond routine and convention. With a cast of powerhouse singers, this Dutchman sustains an arc of high-voltage tension, refusing to loosen its grip until the final blackout." - Bachtrack 

"As Senta’s father, the sea captain Daland, Daniel Sumegi creates a memorable portrayal with his mighty voice and his deft acting. Colin Ainsworth is a lyrical Steersman and a highly effective actor; Luretta Bybee does fine work in the shorter role of Mary." - The Seattle Times

Colin Ainswroth (Steersman). Philip Newton photo

"Conductor Sebastian Lang-Lessing, who made his Seattle debut with the company’s 2014 International Wagner Competition, coaxed vivid and exciting performances from an orchestra that knows this composer inside and out." - The Seattle Times

"Sunday’s alternate cast created a remarkably different show. In the title role, Alfred Walker was a strong actor with a warm tone that didn’t quite have the heroic presence that Wagner requires. Wendy Bryn Harmer was a standout Senta with a big, radiant voice; David Danholt (one of the winners of Seattle Opera’s 2014 International Wagner Competition) sang with artful clarity as the ill-fated Erik." - The Seattle Times

Rebecca Nash (Senta), Daniel Sumegi (Daland), Luretta Bybee (Mary). Philip Newton photo

Remaining performances of Seattle Opera's The Flying Dutchman: May 11, 14, 18, 20, & 21. Tickets & info: seattleopera.org/dutchman. #SODutchman 

Gala funds vital community programs

Join Seattle Opera this April for a black-tie gala featuring Greer Grimsley, star of Seattle Opera’s famous Ring cycle and title character in the company’s upcoming Flying Dutchman. Gala attendees can share their experience on social media using the hashtag #SOCelebrate.

"Expect an elegant evening and lots of fun,” said Moya Vazquez, gala committee co-chair and Seattle Opera board member. “Most importantly, the festivities will support programs that create more equitable and accessible arts opportunities for everyone in our community.”

Seattle Opera continues to increase access to the arts by providing admission-free and subsidized programs throughout Washington State, sharing the power of music, theater, and storytelling. Over the past five years, the number of people Seattle Opera has served through its engagement programs has increased threefold. Funding from the gala will help the company continue on this path.

Seattle Opera's 2016 Frost Fest (offered admission-free for youth). Photo by Philip Newton 

"Seattle Opera should reflect our region; it should be the proverbial fire around which we share our stories,” said Director of Education & Community Engagement Barbara Lynne Jamison. “We must also be able to serve those in need, because we know that many people don’t have opportunities to make and experience art.”

Last season, with the help of incredible donors, the company served 74,689 students, adults and seniors with educational arts programming, up from 63,116 Washingtonians in the 2013/14 season. Just one of many examples includes “Artful Aging” programs designed for retirement and community centers, as well as residencies in schools where children can create their own operas. Last year, Seattle Opera served 15,352 students. More than a third of these students attend federally identified low-income schools. Due to generous donations and events like the Gala featuring Greer Grimsley, the company is able to provide performances, residencies, and other fun offerings to these underserved schools free of charge.

Seattle Opera offers admission-free and subsidized programs for people of all ages, from toddlers to seniors.
Photo by Philip Newton 

"We are so grateful for the support we receive at events such as the Gala, and from the generosity of donors all year long,” said Linda Kitchen, gala committee co-chair, opera singer, and wife of General Director Aidan Lang. “We hope the curious and generous minds of Seattle will join us on April 16, and help share this special art form that we love.”

Attendees will enjoy live music by the Dudley Manlove Quartet, in addition to Greer Grimsley and other special guests. Richard Hartlage of Land Morphology will create stunning towers of greenery, which will complement floral décor by Loves Me Flowers. A delicious feast provided by Kaspars Special Events & Catering will include a salad course, with three entrée options, and a warm banana cake with chocolate truffle and caramel sauce for dessert. Wine is generously donated by For a Song.

Seattle Opera prepares to perform Our Earth with a student chorus at Blackwell Elementary. Photo by  Brandon Patoc 

The live and silent auctions will feature exciting travel and exclusive experiences, including a $5,000 gift certificate to Seattle’s premier jeweler Turgeon Raine, as well as the chance to enjoy an opera from the wings while observing our stage manager in action. Fine dining experiences include a tour of six Tom Douglas Restaurants where delicious bites and drinks will be served at each stop. Attendees can also bid on exquisite wines, including a rare 2005 Imperial (6L) Château Suduiraut Sauternes (perfect for a 150-200 person wedding); a “The Lafite Spirit,” based on a rich tradition rooted in the Bordeaux soil; a 1982 Jeroboam of Château Lafite Rothschild, which has received a rating of 100 from Robert Parker, Jr; as well as a six-bottle vertical of Cabernet Sauvignon (2002-2007) from Quilceda Creek Vintners—representing some of the best wine that Washington has to offer. Michael Davis of Chicago-based Hart Davis Hart Wine Co. will serve as auctioneer. The silent auction will be available online to the general public on March 30. Anyone can bid, not just guests of the Gala.

To learn more about the Gala and to RSVP, visit our Gala Facebook event page or seattleopera.org/gala. You can also call Donor Services at 206.389.7669

"For many of my students and their families, money and food alone are tight, let alone opportunities to experience the arts with true artists. Seattle Opera's performance at our school presented these students with a world they had never known before. The brains and hearts of nearly 600 students were opened. Since then, we've been listening to a variety of literature and learning about the composers because the kids wanted more opera. This is huge." - Carri Rose, teacher

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Greer Grimsley Shares Seattle Opera Memories

The other night we snuck into Greer Grimsley’s dressing room—after Tosca had given him her fatal kiss of death—and showed him a series of photos chronicling the many fine performances he’s given us at Seattle Opera. Greer shared memories of the wonderful colleagues who appear in these photos and spoke about some of the challenges of bringing great opera to the stage.

1994 LOHENGRIN
Photos: Gary Smith

Ha ha ha ha! This was my first show here! I remember it vividly; I was so excited to get to work here in Seattle. I loved this costume, which Marty [Pakledinaz] designed—and I remember the robotic swan, and Ben [Heppner, who sang Lohengrin], and Gordon [Hawkins] as the Herald, who was awesome. That prop sword weighed as much as a real broadsword. It always bothers me when people look awkward handling props, so I always had that sword, carrying it with one arm, so it would look natural. That was my first Wagner role, and it’s all thanks to Speight [Jenkins]. He started me down this road. I was supposed to share the role, but the other fellow got sick, so Speight asked if I could do all the performances. I ended up singing 5 Telramunds in 7 days, including opening night and a matinee the next day. I was tired, physically, after that, but I remember saying to myself: “Okay...I think I can do this repertoire.” It was a fateful moment for me.

1995 CARMEN
Photo: Gary Smith

The next year, Speight had me come do Escamillo, that was fun. I love this little tango-move—that’s in the Toreador song, I’m pretending I’ve got the red cape, the muleta, and the bull is coming in very close.

1998 TRISTAN UND ISOLDE
Photo: Gary Smith

Here I am as Kurwenal, with Ben Heppner, on that amazing set for Francesca [Zambello]’s production, which was like being on board the Titanic. Ben and I had become great friends when we did Lohengrin, and here it really was a case of art mirroring life, because that was his first Tristan, and I was able to help him through the ordeal a bit as Kurwenal helps Tristan.

1998 FAUST
Photo: Gary Smith

Again it was Speight who said, “You need to sing Méphistophélès.” And I had such a great time! I don’t get to do this character often enough. There’s such humor in it. Bernard Uzan directed this production, and he gave me great insight into the character. It was really a gift, working with Bernard on this.

2001 TOSCA
Photo: Gary Smith

This is from the first time I did Tosca in Seattle, with Carol Vaness. What an honor! It was a thrill to do it with her.

2001 GÖTTERDÄMMERUNG
Photo: Gary Smith

I sang Donner and Gunther the first time we did the ‘Green’ Ring in Seattle. I love this scene, from the end of Act 1 of Götterdämmerung, because it’s supposed to look like Siegfried has transformed into Gunther, and it never does. But [stage director] Stephen [Wadsworth] had the idea to let me mouth the words and have the tenor singing into a cut-out, he’s behind that wall. It worked brilliantly. One reviewer didn’t understand that it wasn’t me singing, and I got a review that in that scene my high notes were a little tight!

2003 PARSIFAL
Photo: Rozarii Lynch

Parsifal, the first opera in McCaw Hall, was also a great production. I haven’t sung this role, Amfortas, too often—they don’t do Parsifal a lot—but it’s a great role. Bob Israel’s designs were fun, as you can see—here I am holding the holy grail.

2003 PARSIFAL
Photo: Chris Bennion

In this one you can see I have this prosthetic wound that will never heal. That’s for the scene where, as Amfortas, I rip off my bandages and cry out, “Let me die!!!!”

2004 FANCIULLA
Photo: Rozarii Lynch

I sang my first Jack Rance here in Seattle, too! I’ve done it 4 or 5 times since then. What American singer would complain about getting to wear a leather coat and a leather vest with a star on it and a sidearm! Every American boy wants to be a cowboy. Bernard directed this show, too.

2005 DAS RHEINGOLD
Photo: Bill Mohn

Ewa Podles was wonderful as Erda. She was really a very nice lady, I really enjoyed working with her.

2005 DAS RHEINGOLD
Photo: Bill Mohn

There’s Peter [Kazaras] as Loge, in 2005, the only time I did it with him. That was great fun. The very first thing I ever sang with Peter was Orpheus in the Underworld, in Santa Fe, a long time ago.
At this moment I’m keeping everybody from running after Freia, who’s just been kidnapped by the giants. You have to get the spear at just the right balance point in order for that to work. And the way the stage floor is this uneven mountainside, my balance is always a little bit off anyway, so it’s hard to get it right. Plus, that coat is really heavy!

2005 SIEGFRIED
Photo: Rozarii Lynch

There’s Tom [Harper] as Mime! We had a great rapport in that Riddle Game scene. He was a wonderful Mime.

2005 DIE WALKÜRE
Photo: Chris Bennion

And there’s Jane [Eaglen], we’re doing Wotan’s monologue. I never think of the monologue as a solo piece of music, I think of it as a duet. Brünnhilde plays such a big role in it. I love this picture of us together—she’s there with me, through my pain.

2008 TOSCA
Photo: Rozarii Lynch

Here I am as Scarpia, with Steven Cole as Spoletta. I’m wearing the same coat I have on now, which still fits quite nicely! Steven was an amazing Spoletta. He played him so concentrated; everything was exact.

2010 TRISTAN UND ISOLDE
Photo: Rozarii Lynch

This is the Tristan und Isolde that Peter [Kazaras] directed, with Cliff [Forbis]! I’ve done a lot of Tristans with Cliff. I love singing Kurwenal with him—he’s a great colleague, and he sings the snot out of it. And he also is very in it—he acts it so well, he makes it easier for me.

2012 FIDELIO
Photo: Elise Bakketun

Chris Alexander updated Fidelio, setting it in contemporary Europe somewhere. I’m getting ready to shoot Florestan here, but I’m stopped by Fidelio holding the gun to me. I’ve worked with Chris Alexander two or three times, I’ve loved it every time.

2013 DAS RHEINGOLD
Photo: Alan Alabastro

Here’s a great moment: when I take the ring away from Richard [Paul Fink] as Alberich. I’m so focused on the ring, I don’t even notice that he’s there. Before the end of his aria, there’s one word he sings that shakes me out of the trance I’m in. just looking at this photo, I couldn’t tell you which year it was taken—we’ve been doing it together for ten years now!

First Photos from Tosca

We had a great rehearsal of Tosca last night at Seattle Opera! Enjoy these photos taken at the final dress by our expert photographer, Elise Bakketun.

Lithuanian soprano Ausrine Stundyte, who made her Seattle Opera debut as Madama Butterfly in 2012, returns as Tosca. (Elise Bakketun, photo)

Greer Grimsley returns to Seattle Opera in one of his favorite roles, Baron Scarpia. (Elise Bakketun, photo)

“You are so skilled at making me fall in love with you.” Cavaradossi (Stefano Secco) woos Tosca (Ausrine Stundyte) in the church scene of Act One. (Elise Bakketun, photo)

Scarpia (Greer Grimsley) and Spoletta (Alasdair Elliott) find a clue, to the consternation of the Sacristan (Peter Strummer). (Elise Bakketun, photo)

Tosca (Ausrine Stundyte) tries to comfort Cavaradossi (Stefano Secco) after his interrogation. (Elise Bakketun, photo)

“Traitor! I’ll see you hang!” Scarpia (Greer Grimsley) is angry that Spoletta (Alasdair Elliott) has failed to catch Angelotti. (Elise Bakketun, photo)

The Sacristan (Peter Strummer) shares the news that Bonaparte’s forces have been routed at the battle of Marengo. (Elise Bakketun, photo)

Scarpia (Greer Grimsley) fans the flames of Tosca (Ausrine Stundyte’s) jealousy with the fan of the Marchesa Attavanti. (Elise Bakketun, photo)

“Tosca, you make me forget God!” Scarpia (Greer Grimsley) kisses the hand of the Cardinal (Rob Martin) at the end of Act One. (Elise Bakketun, photo)

Scarpia (Greer Grimsley) duels with Tosca (Ausrine Stundyte) in their Act Two confrontation. (Elise Bakketun, photo)

“Speak to me as you spoke before; the sound of your voice is so comforting.” Cavaradossi (Stefano Secco) and Tosca (Ausrine Stundyte) in the final scene. (Elise Bakketun, photo)

Meet Our Singers: GREER GRIMSLEY, Wotan/The Wanderer

Greer Grimsley has sung the role of Wotan all over the world, but he first sang it here in Seattle in 2005, winning the company's Artist of the Year Award for his performance. He’s back for his third Seattle Ring and a tenth summer in Seattle. He spoke with us about the challenges of his role, how this production has been a family affair, and how singing Wagner in Seattle provided a turning point in his career.

Greer Grimsley sings "Abendlich strahlt" from Das Rheingold

You have now sung Wotan all over the world. What does this Ring mean to you?
I love this Ring. Since it is the first Ring that I ever did, it has huge sentimental value for me. I also believe in the production. I believe in the storytelling that we do. For all of its wonderful music, the Ring is also very text driven. The care that’s given to the text and to making sure that all intentions and relationships are clear—you don’t get that in all productions. That keeps me coming back.

Plus, I’m just so happy to be back in Seattle. I consider Seattle one of my home spots in the world.

Greer Grimsley as Wotan in Die Walküre
Chris Bennion, photo

When did it occur to you that someday you’d sing Wotan?
I had lots of folks telling me, ‘You might end up doing this,’ but it wasn’t until Speight gave me the opportunity to sing Telramund in Lohengrin. Prior to that, I was a victim somewhat of the very conservative nature of musical-vocal thinking in the United States: that you have to sing Mozart until you’re 45 and then you can do heavier things. That’s not how my voice worked. Early in my career on I was having trouble finding direction because that didn’t suit what I could do. It wasn’t until I sang my first John the Baptist that things clarified for me in terms of where I should find my niche in the opera business. Then that opened up other opportunities. And I would have to say, yes, of course I started thinking about Wotan, but I was thinking about other things as well, such as just getting hired. When Speight did ask me to do Wotan, I was ready to be asked. It happened exactly at the right time.

Greer Grimsley as Wotan in Siegfried
Chris Bennion, photo

Do you find it easy to relate to Wotan? Are there moments of his long journey that are more or less challenging to connect with?
That’s a good question. As an actor you always bring something of yourself to the role. In the realm of Wotan’s mishaps and adventures there’s the sense of someone trying to fix something, not having enough information, and being bound in at every turn. I think we’ve all felt that and can relate to that. I know he is a god, but his experience that’s shared with the audience through all of this is very human. You can identify with every bit of it. He has the ability to kill someone with just a gesture, as he does in Walküre, but that’s the only time where you see his godhood. Saying good-bye to his daughter forever, seeing his son killed—those are hugely human conditions and emotions. For instance, being able to make bargains and treaties with people—sometimes not telling the whole truth to get the best deal—that was part of survival and success when these stories were first created.

Do you like appearing in Götterdämmerung? Have you made that appearance in other cycles?
This is the only one, and I have to say, yes, I do enjoy that. It does put a nice bit of punctuation to the character. I think everyone who does this role will say that you get a chance to develop a character through three operas. There’s not anything else in the repertoire that I can think of where you get a chance to do that.

Could you share a favorite memory associated with this production?
When I first did Wotan, my daughter was a Nibelung, and my wife was a Valkyrie. Luretta is here again as a Valkyrie, so having the whole family in this is quite enjoyable.

What would you say is the most challenging aspect of Wotan?
I think everybody would say stamina. And that’s something you can help yourself with. In Rheingold he’s much more youthful and in Walküre there’s a heavy weight on Wotan, and there’s a sense of resolve that comes in. But people shouldn’t even notice that he’s different—that’s the hard part.

Greer Grimsley as Wotan in Das Rheingold
Bill Mohn, photo

Why do you choose not to mark in rehearsal?
Actually, I’ve talked with some colleagues about this, and especially in this repertoire it’s sometimes easier to sing than to mark. It takes more maneuvering and thought process as opposed to just singing it. When you mark you think, ‘Ok, how am I going to do this? Am I going to do this an octave lower?” And it sort of takes away from the dramatic part of it. In many ways, because the music is now a part of me, this kind of rehearsal frees me to explore other avenues.

It’s interesting to think of the music being a part of you…
It’s become a very dear friend. The first time I did it my intent was to do the best job I could do. But I didn’t want it to be evident that it was my first time doing it. When Speight asked me, I had a year to get it done, so I cancelled some jobs and through translating and working on the music, I just made sure it was as close to second nature as possible before I even showed up here.

Greer Grimsley and Speight Jenkins
Bill Mohn, photo

What has it been like to work with Stephen Wadsworth and Asher Fisch?
I’ve known Asher for a very long time and love working with him. We understand each other when he’s conducting, and the same with Stephen. He gives us the freedom to explore, and he helps with specifics as well. Every time you do something like this you look for different ways to approach it. Tito Gobbi, who sang Scarpia thousands of times, wrote in his book that every time he performed that role he found something new. I read that as a young singer, and that’s the way I look at any role. I look for something new, maybe something I missed or I can do better.

Do you have any thoughts about Speight and this being his final Ring?
I’m hugely sad about that. Speight has been responsible for me being in this repertoire and tapping me to do my first Wagner. Lohengrin in 1994 started me on a wonderful path.