Headshot of La Cieca

Cher Public

  • kashania: Amen. If someone came on parterre (or any online forum) and wrote the kinds of nonsense that Gordon... 8:43 PM
  • ML: The MET Orchestra musicians are the House Gods. Don’t resent them a penny. 8:27 PM
  • Bill: Stoyanova may be 52 but as one critic wrote in Vienna this past year, he had never heard a bad... 8:18 PM
  • DonCarloFanatic: In many venues, they just don’t care. Teenage employees take the ticket, recite the... 8:11 PM
  • ducadiposa: Thank you so much for the detailed account of musical life in Budapest. I had heard about... 7:58 PM
  • MontyNostry: Now **this** is a living soprano who does something with ‘D’amo r …’... 7:54 PM
  • steveac10: Not just more or less. Also, in the Minnesota mess their were several board members front and... 7:36 PM
  • m. croche: What an odd response. If memory serves, it was Vanska who was definite that he would never, ever... 7:27 PM
  • steveac10: There were a few other soloists on the FB thread who commented a bit negatively, but the reality... 7:26 PM
  • Quanto Painy Fakor: Will Helga Schmidt be hired to replace Gelb? http://www.abc.es/ cultura/musica/... 6:57 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?