Cher Public

  • lorenzo.venezia: Ivy, I agree there are undertones and overtones and I’m not arguing against that. My argument is against people who... 5:14 PM
  • NPW-Paris: (That was in reply to Satisfied, and I apologise for the mistakes). 5:13 PM
  • NPW-Paris: Les Contes d’Hoffmann, in Marthaler’s Madrid production, came out quite recently, I think. Opéra Magazine said (my... 5:10 PM
  • Porgy Amor: I never thought Beckmesser was specifically targeted in the Act Two riot because people found him annoying. He gets the worst... 4:58 PM
  • Batty Masetto: I get the sympathy for Beckmesser – for one thing, he lives out one of our commonest nightmares. What opera lover hasn’t... 4:57 PM
  • armerjacquino: Lorenzo- I was with you right until the end. Your mention of historical context is vital, and in that light MERCHANT is a... 4:51 PM
  • Poison Ivy: Well again, I don’t think any piece of art (or literature) should be studied in a vacuum, as solely a piece of art. For... 4:34 PM
  • Satisfied: Looking for some good regie productions to order for Christmas (recently released). Suggestions? 4:22 PM

The recursion of kitsch

Like the double or triple negative (where theoretically pairs of “nots” cancel each other out, but in practice you can’t be so sure) this tidbit of news La Cieca just read has her confused and uncertain. It seems that at a recital in Tulsa last night, Dame Kiri te Kanawa sang as an encore a Jake Heggie setting of Maria Callas‘s final monologue from Terrence McNally‘s Master Class. You know, the one that McNally didn’t actually write but rather collated from some random remarks Callas made in an entirely different emotional context. Read more »