Headshot of La Cieca

Cher Public

  • Jungfer Marianne Leitmetzerin: Another fact which I have not seen in any of the media on the Met’s production... 1:09 AM
  • Chanterelle: Adams was hustled into his seat after the house lights went down–no doubt a security... 1:03 AM
  • Dabrowski: Thanks for your review! This makes me all that much more eager to see it next month. By the time... 12:57 AM
  • Satisfied: How many articles are going to fuck up on reporting on this opera? My favorite still is the... 12:46 AM
  • Jungfer Marianne Leitmetzerin: Thanks so much for your pre-performance reports and your general review. I... 12:37 AM
  • Satisfied: Er….Correcti on: “Often, directors new to opera DON’T know what or how to... 12:36 AM
  • Satisfied: Yes LittleMaster, she was a few rows behind me in the orchestra, She said “Piece of... 12:22 AM
  • Satisfied: Just back from the house and settling in with a nice glass of bourbon…and yet I can’t... 12:14 AM
  • brahseph: She yelled “piece of sh*t” – couldn’t tell if she was referring to the... 12:09 AM
  • Jungfer Marianne Leitmetzerin: Miles, thank you so much for sharing that. You have always been an... 12:08 AM

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?