Why is it when I click on Schedule to get the cast of the opera for August 14th which should be Gotterdammerung, it is still Siegfried which is listed? This off-by-one week happens invariably. Can't this be adjusted, PLEASE? Thanks

Although he is no Lauritz Melchior, whom I heard at the "Met" Opera from 1943 until his last performance there as Lohengrin in Febrary of 1950, Britain's John Treleavan is the best of the household name heldentenors. He has a handsome, virile vocal timbre and the stamina not to fold under the long many-worded and strenuous lengthy role in which one must have at times a dolce sound when pondering what his mother may have looked like, a heroic sound when facing Fafner the dragon, a sensuous sound when "courting" Brunnhilde and the ability to race through the acceleration of the first act scene with Mime. In performances I have seen eminent singers have difficulty with the, pardon the expression, Gilbert and Sullivan patter like song of Siegfried's scenes with Mime.
The American heldensopran Linda Watson has a full ample lustrous voice with the two high Cs precisely on pitch and robust, required of the Siegfried Brunnhilde. The Ukrainian heldenbariton Vitalij Kowalijow has a noble , rich full, and powerful voice that has NO problem with the highest notes in the role, singing them with authority and ease of production.
Why is it that the so-called comprimario roles, like Mime and Alberich are given to singers with unattractive voices, so as not to compete with the principals, and to assume that "bad" characters should have unpleasant timbres. In the real world, some of the worst fiends have rich cultivated speaking voices. Let's have principal quality singers sing the comprimario roles and not await the circumstance of another singer's departure from the scene.

There is a John Wayne movie, I think, She wore a Yellow Ribbon. Towards the end of the film, Victor McGleggan(?) staggers drunk into the blacksmith shop and an Irish jig is being played. He enters the shop, the music changes into the forging of the sword, and then back to the jig when Victor leaves the blacksmith's shop.
I wonder how many people caught that.

No matter which Co. or opera I miss the more complete description of set, if any, costumes, when not outlandishly out ot date of the opera, and the lack of time to hear applause if good or to resent it if performance undeserving.

Although this is a recording of a performance earlier this year, I have not bread the reviews, but highly anticipate the broadcast this Saturday. Composers, like myself, keep erratic sleep hour scheduling, as "stream of consciousness" inspirations and melodic and harmonic "architectures" arrive on their own scheduling, and COMMAND immediate writing or they may be lost.
Wagner, Beethoven and Mozart spent many hours of interrupted sleep, and, considering their writing materials and lighting survived heroically.
Siegtried's cast for this broadcast, from past experience hearing these artists, should produce a "Siegfried" for our times!!