Opera is a remarkably durable art. Sitting through “Parsifal” in 100 degree heat at Bayreuth recently, and hearing the couple behind me making chitchat during the final chord, I was surprised to notice that I still was transported by the work. But if anything threatens to break the spell, it’s the stereotypical operatic gestures that are so common as to be completely devoid of meaning, and yet still manage to make it into almost every production—including Yuval Sharon’s justly praised “Lohengrin.” Here are some of the worst offenders.
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