Cher Public

  • Krunoslav: Favorite Kundry on records? Martha Moedl. I also greatly liked four that I have seen onstage: Christa Ludwig, Tatiana... 11:42 PM
  • Krunoslav: My first Met PARSIFAL in 1977 had practically no applause after Act One, and as a “knowingR 17; student I thought... 11:37 PM
  • PCally: Out of curiosity, who is your favorite Kundry? 11:08 PM
  • Don_Dano: Does anyone have problems with the Metropolitan Opera being able to process corporate matching gifts. Each year, I make a... 7:58 PM
  • Jungfer Marianne Leitmetzerin: There is absolutely NO official rule at Bayreuth about not applauding at the end of Act I of... 7:41 PM
  • brackweaver: This is the clearest summary of the plot I’ve encountered. Too bad it is such a mess. Mascagni’s operas have so... 7:36 PM
  • Jack Jikes: Bi “Yes!’ to La Cieca ond Ivy. Standing at Messiah? Precious. 7:10 PM
  • Operngasse: Dear JML, Many thanks for posting this. I was lucky to have heard Astrid Varnay near the end of her career in Elektra and she... 6:44 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?