Cher Public

  • Camille: oh, good. Monsieur croche! I just was about to put the word out to you but had no idea if you were around the house. At the... 1:09 PM
  • m. croche: Friends of Azeri opera will no doubt be gratified to learn that September 18, 2015 has been proclaimed “Uzeir Hajibeyov... 1:01 PM
  • Ilka Saro: While I admire Hart, Kahn, Reilly and Kuralt (not a law firm!) I have to say I couldn’t get past the first question! I... 12:55 PM
  • Camille: Oui. Elle avait toutes les qualités et toutes les notes 12:55 PM
  • Camille: ooo–la-la!! Mon pauvre petit choux gustave!!!! Je suis désolée!!!!! Actually, I was going to suggest you go to your local... 12:54 PM
  • antikitschychick: we could, and it makes more sense that she would be covering the entire run rather than just that October 3rd... 12:50 PM
  • Camille: Wasn’t part of the scuttlebutt about Oropesa the pertinent fact she wished to sing leading roles — like what she is... 12:46 PM
  • Camille: “Glacial website”. Well put, overstimmelated. Where does one go to find out about last minute cast substitutions,... 12:42 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?