Headshot of La Cieca

Cher Public

  • aulus agerius: There was also one called Red White and Maddox a couple of years later (41 performances), one... 10:11 AM
  • pavel: “The world’s most luxurious soprano” :-)) 10:07 AM
  • alejandro: btw: (forgive if this has been linked to already) http://www.amazon. com/Richard-Str... 9:53 AM
  • alejandro: I read she’s starring in the movie adaptation of Americanah, which sounds like a great... 9:43 AM
  • alejandro: I love Lupita! BRING IT. And for all her divatude, I saw Battle in L’Elisir opposite... 9:41 AM
  • Will: They’re going to have to be very careful — given the lady’s history, I can imagine... 9:40 AM
  • operaassport: Oh my. I love Lupita, who despite her Oscar can’t get good roles in films, but a life of... 9:38 AM
  • messa di voce: Another opera connection: Playten was Fred Plotkin’s cousin 9:37 AM
  • armerjacquino: I happen to live within three kilometres of the Arab quarter here so I’m well aware of what’s... 8:39 AM
  • messa di voce: Michael Bennett choreography, with Pia Zadora and Priscilla Lopez in the chorus! 8:35 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?