Headshot of La Cieca

Cher Public

  • Krunoslav: Nadja’s best option at this point? JOSEPHSLEGENDE. 2:15 AM
  • Lohengrin: The points for her decicion, to do Aida in London cond be “the conductor and the... 1:26 AM
  • Buster: 2019 – and she wll be just in it, it is not composed for her, I see. More details, including a... 12:55 AM
  • Buster: Nadja returns to the Met in an opera composed especially for her by Osvaldo Golijov. 12:50 AM
  • Camille: Hi, scifisci—lon g time no see. Yes, I corroborate with you about Lee, as I saw his second or... 11:14 PM
  • scifisci: Kaufmann is a special artist but I would not be that disappointed that Lee is filling in or that... 10:44 PM
  • Camille: Feldmarschie, hahahahaha! I just now saw your reference to Jackie O! I am sorry to disappoint your... 9:49 PM
  • Lady Abbado: Finally a glimpse into Angela Gheorghiu’s take on the role of Charlotte: http://staatsop... 9:37 PM
  • Camille: I thought she was pretty good as the Jaroslavna as well, and we had been warned by œdipe about the... 9:36 PM
  • Camille: I haven’t forgotten her at all because she is my favourite, by a landslide, because she could... 9:31 PM

How monarchic was my sprezzatura!

“Yet the evening’s first words, heard in the set-piece Ombra ma fui—like all of Xerxes’ arias sung with monarchic sprezzatura and amoral relish by Stella Doufexis—came unexpectedly in Italian. It was flagrant violation of this house’s fundamental principle, here brushed aside by the cultural capital of the aria and deemed insufficient to sunder the inextricable bonds between the Italian text and Handel’s melody. It was as if the composer and his music, through his advocate Herheim, was holding ground at least at the outset against appropriation of his music by the moderns.”

Oh, what’s not to like in a review like this one?

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