Cher Public

  • -Ed.: Ah! My latest earbug is from the Gardiner Figaro.. and now it can be yours too! Perfection. httpv:// com/watch?v=Ua7... 10:03 PM
  • Batty Masetto: Ivy, Daniel Barenboim doesn’t quite see it that way: Whoever wants to see a repulsive attack on Jews in Wagner’s... 9:42 PM
  • Poison Ivy: A lot of Beckmessers music sounds like a parody of cantorial traditions, and certainly not something Wagner normally wrote for... 8:56 PM
  • grimoaldo: I’m a proud Episcopalian! Doesn’t stop me kvetching about anti-Semitism, not in Wagner generally, but in... 8:38 PM
  • armerjacquino: Well of COURSE a Venetian would say that… 8:33 PM
  • lorenzo.venezia: dear quoth, then there are us Jews who kvetch about other people reading anti-semitism everywhere in Wagner ;-) although... 8:32 PM
  • Batty Masetto: Sorry, quoth, I’m not buying. Possibly some day somebody will unearth a letter where Wagner says “I really... 8:24 PM
  • lorenzo.venezia: @armer– an old friend in Venezia assures me that there never was (which we know) and never would have been a... 8:21 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?