Headshot of La Cieca

Cher Public

  • Leontynes Weave: Hmmm. So the economy gets the blame for revivals of Gelb’s productions getting bad... 10:33 PM
  • rysanekfreak: Does the Rumpus Room still have the promotion offer of “Children under the age of 12 can... 10:10 PM
  • rysanekfreak: Didn’t realize this. Thanks for the link to the article. Was it broadcast? Of course,... 10:06 PM
  • phoenix: They did it at the Oberfrankenhalle in Bayreuth last year. http://www.nytimes .com/2013/07/17... 9:46 PM
  • Krunoslav: Maltman would make a fine Ottokar. The idea of him being here is that Kaspar is a part as beyond... 9:41 PM
  • rysanekfreak: I guess Bayreuth is never going to do Rienzi. I thought I had heard hints a few years ago that... 9:27 PM
  • DellaCasaFan: imhere, only to clarify that my post about the publicity of annual reports and 990 tax forms... 9:20 PM
  • kashania: Well, Ian, I doubt that the maintenance is all that costly in comparison to the number times a year... 9:13 PM
  • ianw2: Not to totally nitpick, but those seats do cost money whether they are occupied or not- cleaning,... 9:08 PM
  • Signor Bruschino: Wow- someone who has been directing opera consistently since his mid-20′s (with... 8:57 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?