Cher Public

  • Camille: Gee, that’s too bad. I do have her Wesendonck Lieder mit Lenny and they are swell. Especially “Im Triebhaus̶... 12:21 AM
  • La Cieca: Bert Lahr did a variation on this line in one of his Broadway shows, not sure which one. The idea was that Bert fell afoul of a... 11:52 PM
  • m. croche: How wrong conventional wisdom is! Sometimes translations need be neither faithful nor beautiful. All they need to be is, erm,... 11:20 PM
  • erricco: the recording does not do justice to the hilarity that Mary Lou creates in her live concerts…..o f course, these numbers... 10:57 PM
  • Camille: What a charming thought. Thank you. 10:46 PM
  • Camille: Are you having a bummer of a summer? Go Brush Up On Your Shakespeare — and see KISS ME KATE IN 3-D at the Museum of Modern... 10:45 PM
  • Camille: luvtennis, ACHTUNG!!! Well, by some strange alchemy, today, while going through a ton of old music and souvenirs and... 10:35 PM
  • antikitschychick: Haha can you tell I was excited?? They sang back to back show-stopping arias for sure, even though they were technically... 9:36 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?