Cher Public

  • Krunoslav: Meanwhile , I am praying that One of Our Merry Band was at Carnegie Hall tonight for the thrilling RING excerpts with Goerke... 12:29 AM
  • uwsinnyc: What an absolutely lovely dove sono. I forget sometimes what a truly beautiful and juicily rich voice she had in her prime. I... 10:49 PM
  • DonCarloFanatic: If it’s done right, it does choke you up. Worth waiting sixteen hours for that. It was a wonderful experience.... 10:44 PM
  • mjmacmtenor: Like She Loves Me and Gooch, but LIli is supposed to be a child/woman of teenage years. How about Kate in Kiss Me Kate or... 10:09 PM
  • mjmacmtenor: httpv://youtu.be/V 0L5l0G0jd4 9:56 PM
  • mjmacmtenor: One of my favorite songs (by Poulend) was written for Printemps httpvs://youtu.be/ V0L5l0G0jd4 9:55 PM
  • Satisfied: Absolutely thrilling Gotterdämmerung with an immolation scene I will cherish forever! While I didn’t so much care for the... 5:32 PM
  • NPW-Paris: “Images of polluting smokestacks and denuded landscapes play over the scene transition projections, turning every... 5:32 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?