It's time to introduce a new feature: Popehat Goes To the Opera.
Anything David writes about art here is not to be missed. Patrick's discussion of film is always worth a read. Many of my colleagues talk about games. But what do I contribute to art or geek culture?1
Practical reasons have hindered my contribution. I'll never be able to write about culture the way David can write about art. I'll never have a talent for relating games to politics like Derrick. And let's face it: gaming has passed me by. I barely have free time to play games, and my heart belongs to ones so primitive you could play them on a modern wristwatch.2
But I do have one geeky interest that bears exploring, Popehat-style: a somewhat esoteric taste crammed with all the history and minutiae a fanatic could want, with high barriers to entry and too few followers.
I refer to opera.
So: without further ado, the first chapter in a new series seeking to expose our readers to opera and explain why it appeals to me, one opera at a time. I start with a favorite, an opera that embodies the best (gorgeous music) and the silliest (ridiculous operatic conceits) of the genre: Richard Wagner's Tannhauser.