THE GOOD – the musicians – all of them. This is indeed the best possible cast assembled to sing this music, and Conlon is a true Wagnerian at heart (during the pre-show lecture to last season's TRISTAN UND ISOLDE he joked, half-seriously, that he could think of nothing better to do on a Saturday night than conduct a 5-hour Wagner opera.) Domingo's replacement was astounding, and I am a huge fan of Kampe. All the voices and the orchestra were sublime. I didn't find the music as muffled or distant as many viewers did, and I like the fact that they are tailoring the orchestra in the same way as Bayreuth.

THE BAD – the static staging. Act I is the shortest act of the opera I think, but it felt the longest. The characters stand there and sing. And then they stand there and sing some more. The only movement is of a figure we dubbed the "Watchman," who keeps time for us. Act 2 was far more promising once the characters actually started interacting and the story began to be picturized. But then halfway through Act 2 we went back to standing there and singing. Boring boring and boring. The only redeeming moment came in the last 20 seconds, where Brunnhilde is encased in flames by Loge. An interesting and indeed memorable moment in the theatre. But the entire 4 hours and 59 minutes before that were agony.

THE UGLY – Director Achim Freyer's entire conceptualization. I'm all for out-there interpretations and pushing the boundaries of drama, opera, art, performance art, you name it. But Freyer's vision is so indulgent and sophomoric. Where is the $32 million that the LA Opera supposedly spent on this entire production? All you see onstage are a bunch of painted bedsheets and clunky papier mache masks that look like they've been stolen from a junior high school production of THE LION KING. Seriously. It's embarrassing.

CODA – on Monday evening I received a phone call from the LA Opera trying to sell me tickets to next season, including a four performance cycle of THE RING. I had spoken to the poor "gentleman caller" before, and once again reiterated by disdain at Freyer's ridiculous, masturbatory production. I also complained that the season was shorter and included 2 concerts rather than full-scale productions. His excuse was to make room for THE RING cycle, to which I said it was a pity. We parried back and forth about the production until he said something to the effect of "Well, no matter what I say, you have your mind made up so what's the point of arguing?" Indeed. I sadly said I would not be purchasing tickets to next season (which is truly lackluster, to be honest). I felt bad in that I love the LA Opera and really want to see them succeed – and I welcome their daring. But sadly LA Opera's production of THE RING is epic, but in the wrong way – it is an epic failure.

THE GOOD – the musicians – all of them. This is indeed the best possible cast assembled to sing this music, and Conlon is a true Wagnerian at heart (during the pre-show lecture to last season's TRISTAN UND ISOLDE he joked, half-seriously, that he could think of nothing better to do on a Saturday night than conduct a 5-hour Wagner opera.) Domingo's replacement was astounding, and I am a huge fan of Kampe. All the voices and the orchestra were sublime. I didn't find the music as muffled or distant as many viewers did, and I like the fact that they are tailoring the orchestra in the same way as Bayreuth.

THE BAD – the static staging. Act I is the shortest act of the opera I think, but it felt the longest. The characters stand there and sing. And then they stand there and sing some more. The only movement is of a figure we dubbed the "Watchman," who keeps time for us. Act 2 was far more promising once the characters actually started interacting and the story began to be picturized. But then halfway through Act 2 we went back to standing there and singing. Boring boring and boring. The only redeeming moment came in the last 20 seconds, where Brunnhilde is encased in flames by Loge. An interesting and indeed memorable moment in the theatre. But the entire 4 hours and 59 minutes before that were agony.

THE UGLY – Director Achim Freyer's entire conceptualization. I'm all for out-there interpretations and pushing the boundaries of drama, opera, art, performance art, you name it. But Freyer's vision is so indulgent and sophomoric. Where is the $32 million that the LA Opera supposedly spent on this entire production? All you see onstage are a bunch of painted bedsheets and clunky papier mache masks that look like they've been stolen from a junior high school production of THE LION KING. Seriously. It's embarrassing.

CODA – on Monday evening I received a phone call from the LA Opera trying to sell me tickets to next season, including a four performance cycle of THE RING. I had spoken to the poor "gentleman caller" before, and once again reiterated by disdain at Freyer's ridiculous, masturbatory production. I also complained that the season was shorter and included 2 concerts rather than full-scale productions. His excuse was to make room for THE RING cycle, to which I said it was a pity. We parried back and forth about the production until he said something to the effect of "Well, no matter what I say, you have your mind made up so what's the point of arguing?" Indeed. I sadly said I would not be purchasing tickets to next season (which is truly lackluster, to be honest). I felt bad in that I love the LA Opera and really want to see them succeed – and I welcome their daring. But sadly LA Opera's production of THE RING is epic, but in the wrong way – it is an epic failure.

As for the DJ's and their "shows," when I was in Japan, I remember paying $40 to get into a show by some English DJ I can't remember. It was the strangest experience, b/c the Japanese tend to be a very quiet, very respectful audience. No one danced, no one talked. We all just stood there, squeezed into a concrete room, slightly swaying, but mostly just watching the DJ spin for an hour. But I had a great time.

However, I find American DJ shows unbearable. They should just call it an informal dance club, b/c no one's really there to see the DJ. And with all the tricks and the dancers, I wouldn't exactly call what the DJs at Coachella are doing art.

As for the DJ's and their "shows," when I was in Japan, I remember paying $40 to get into a show by some English DJ I can't remember. It was the strangest experience, b/c the Japanese tend to be a very quiet, very respectful audience. No one danced, no one talked. We all just stood there, squeezed into a concrete room, slightly swaying, but mostly just watching the DJ spin for an hour. But I had a great time.

However, I find American DJ shows unbearable. They should just call it an informal dance club, b/c no one's really there to see the DJ. And with all the tricks and the dancers, I wouldn't exactly call what the DJs at Coachella are doing art.

Ernessa – Light sabers were pretty cool, if they had them for sale in the lobby I would have totally bought one. I do think you would definitely like the part in Die Walkure with Brunnhilde and the Valkyries. These strong women warriors in a circle, well it reminded me a bit of our roller derby sisters. (Note: Kasey, Ernessa, and myself all became friends while skating for the L.A. Derby Dolls.)

Also of note, I find it interesting that the stars of the Opera and Coachella, Domingo & McÇartney, are only a year apart in age.

Ernessa – Light sabers were pretty cool, if they had them for sale in the lobby I would have totally bought one. I do think you would definitely like the part in Die Walkure with Brunnhilde and the Valkyries. These strong women warriors in a circle, well it reminded me a bit of our roller derby sisters. (Note: Kasey, Ernessa, and myself all became friends while skating for the L.A. Derby Dolls.)

Also of note, I find it interesting that the stars of the Opera and Coachella, Domingo & McÇartney, are only a year apart in age.

I go in & out on Robert Wilson. He did a production of Wagner's PARSIFAL at LA Opera that is one of the greatest things i've ever seen. Domingo sang the title role…it was simply a miracle.