Cher Public

  • steveac10: This whole exchange raises the conflicted feelings I have on these issues. On the one hand we have to be sensitive to peoples... 11:17 PM
  • RudigerVT: You can be warm and friendly toward employees. But they aren’t your friends. Friends don’t pay to spend time with... 9:22 PM
  • m. croche: To be clear, I agree that “just makeup” is not an argument, but merely hand-waving away the issues. Always a good... 8:50 PM
  • Donna Anna: JIS: My favorite part of the opera, too, and one of my favorites–tu tti gabbati with the house lights up. And JL is in... 8:45 PM
  • armerjacquino: the idea that blackface is “just makeup” To be clear: blackface isn’t in any way ‘just makeup’. It has a... 8:29 PM
  • m. croche: Absent a guarantee of anonymity, I would not presume to guess what a young opera singer of color felt free to say or not say in... 8:23 PM
  • armerjacquino: Who’s saying his decision has been made ‘primarily in the face of ‘political correctness’ ?’... 8:17 PM
  • jackoh: “just as I don’t see why Sher saying ‘blackface is problematic so I won’t use it in my production’ is censorship” I don’t... 8:11 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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