Bayreuth 18

The protocol for curtain calls seems to be that if you want to boo the production, you do so as soon as the dark (green or charcoal gray? it's hard to tell) velvet curtain falls, but then switch to cheering once the singers step out, to indicate that they did their valiant best despite the production (of course, sometimes the singers will get booed, as with our unfortunate first Siegmund; then they boo the singer when he or she steps out). The applause is long and vociferous. People stamp their feet, which creates an amazing pounding drumming on the wooden floorboards. The only production to receive a huge round of boos was Parsifal. Otherwise there is just the occasional boo, as I mentioned earlier with the Rheingold. Even after the houselights have gone up and half the auditorium has left there are still those who applaud and stamp their feet until the cast and conductor come out again. The loudest cheers have been for the Ring conductor, Christian Thieleman, who comes out in his black pants and black tunic each night looking exhausted and slightly red-faced from his labors.
It rained pretty heavily and steadily this morning, so I read and slept. I shouldn't complain about a morning like that; some of my favorite winter weekends are when it rains and I lie in bed listening to the drops splashing through the large lemon tree outside my bedroom window. I slept longer and more deeply than I thought I would, until the buzzing of a hornet woke me up (I usually leave the window open when I'm there, since there is no air conditioning or heating) and I saw that the rain had stopped long enough for the pavement to dry off. So now I'll go walk around.