Read what Mr. Farkas has to say at the Seattle Opera blog. (Gee, I wonder if Opera San José would consider a blog?!)

He talks about more than Tristan & Isolde:

The English horn solo from Wagner’s Siegfried is one that quickly comes to mind, because we played it last summer, and it is perhaps unique in that it is one solo that you want to make sound as BAD as possible. That’s because it portrays Siegfried’s unsuccessful efforts to play a small pipe which he fashions out of a piece of cane he finds in the forest.

Hmmm. I think I could sound bad. Really. Easily.


  1. Glad you liked the article, Patty.

    Bob H. said today that I played the Prelude from Le Tombeau de Couperin, best ever. Progress at last. Had a good reed that I made this morning; the reed gods have been awfully nice to me lately. Using a strop really helps a lot.



  2. The comment should have been posted under the Yo-Yo Ma article excerpt.



  3. Okay, I’m confused, John. Did you write the article? And I’m trying to connect that article to oboe and Tombeau. Help?! 🙂

  4. No, didn’t write the article & just rambling. I know Bob was your teacher also.


  5. Ah, I was trying to put everything together in some way … didn’t know you were a rambler like I am! 🙂

  6. & yes, Bob taught me when I was a kiddo! Then, as I’m sure you know, we became colleagues in SJS.