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

The butterfly effect

Midway through the first portion of Wednesday’s New York City recital debut of Mme. Natalie Dessay I became very distracted by the persistent urge to try to characterize the experience of what was happening on stage, for this was, by no means, an ordinary recital and no ordinary debutante.   Read more »

Fair, game

The Monday, 12th December, Weill Hall recital debut of Signora Chiara Taigi, a strikingly good looking Italian soprano, who had made her American operatic debut this past March, starring as Selika in the OONY production of Meyerbeer’s long-neglected L’Africaine, was something Your Own Camille had looked forward to with a high hopes and a faintly wondering glee, for several months now.   Read more »