Headshot of La Cieca

Cher Public

  • MontyNostry: Maybe we need to ask Mandryka about this. 4:29 PM
  • antikitschychick: thanks for clarifying Monty; appreciate that and sorry for misunderstanding then. Totally... 4:28 PM
  • la vociaccia: She pulled out several weeks ago, stating in a long Facebook post that she had been unable to... 4:27 PM
  • DellaCasaFan: Rudolf, Actually Krunoslav is correct historically. At the time when both of these singers were... 4:12 PM
  • armerjacquino: Ta, monty. There really wasn’t the slightest offence meant. 3:50 PM
  • All-knowing Earth Goddess: This weekend was supposed to be the Millo “Tosca” ; performance in... 3:44 PM
  • Rudolf: @ Krunoslav “Croatia a/k/a Dalmatia” is misleading, Krunoslav. I think you well know that... 3:42 PM
  • pavel: I was just looking at the Parterre New York opera calendar and was surprised to see no performances of... 3:33 PM
  • MontyNostry: armer definitely wasn’t being offensive, akk, it was throwaway British humour. (We f***ing... 3:31 PM
  • armerjacquino: ‘I’ll let you off because it’s Christmas’ Seriously? That’s... 2:16 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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