Headshot of La Cieca

Cher Public

  • Jungfer Marianne Leitmetzerin: Sempre L., don’t worry or apologize: I am on my third cocktail. As I... 2:15 AM
  • Jungfer Marianne Leitmetzerin: That being said, Porgy, Cossotto did join the Met for tour performances as... 1:40 AM
  • Jungfer Marianne Leitmetzerin: Rob, I am sincerely sorry that you are disappointed by both of my “La bohème”... 1:17 AM
  • Buster: How were the Ewoks? httpv://www.youtub e.com/watch?v=Jv4t gHh7mBI 1:15 AM
  • Jungfer Marianne Leitmetzerin: Rob, I will readily confess that sound on the 1948 “La bohème” is not up to... 1:11 AM
  • DeepSouthSenior: I love exchanges like this! The best of Parterre in miniature: Opera knowledge shining... 12:13 AM
  • Krunoslav: No, it was this: httpv://www.youtub e.com/watch?v=dtJS LZnKCv0 The name, in Russian , is... 11:42 PM
  • Lohenfal: I don’t have any answers to your questions, but they are worth considering. I always give... 11:41 PM
  • rofrano: Ronald Wilford. 11:40 PM
  • messa di voce: “Teresa Zylis-Gara was to appear as Liza” The Met was going to do Lady in the... 11:34 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?