Cher Public

  • La Valkyrietta: Well, Fred and Rita too, and Cyd, and Leslie, etc. :) 10:00 PM
  • La Valkyrietta: Ages ago I took a little friend to the Met to see Walküre (not abridged, and with no crocodiles, helicopters, motels,... 9:51 PM
  • SilvestriWoman: Astute as ever, Ivy! I’ve never heard her live but, judging from the clips posted here, I’d think she was at... 9:21 PM
  • DonCarloFanatic: A young friend just was telling me the same thing: Shorten operas, get rid of the dull stuff, and maybe some younger... 9:17 PM
  • nachEule: Noted, Lohengrin! Thanks. (Surely not in Tracht for Last Night, though?) 9:09 PM
  • CwbyLA: This was recently done with Magic Flute in Barrie Kosky’s production that played in Berlin and LA Opera. The tedious... 7:26 PM
  • aulus agerius: If ‘inapposite& #8217; refers to my post, you misread me, as does AJ. I don’t care a stuff about white wigs and... 7:07 PM
  • La Cieca: Particularly inapposite to get all pearl-clutchy about Manon Lescaut, an opera that sort of malingered on the fringes of the... 5:47 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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