Cher Public

  • Camille: Merci bien, mon ami L’oseau lyre! Yes, I auditioned this version as well but decided to go for the one more close in time... 10:25 PM
  • Gualtier M: As for the fusty English translation – I have a suspicion that they used an old, out of copyright translation from the... 10:15 PM
  • Henry Holland: I went to my first opera in 1988, LP’s were still the only way to get a lot of opera recordings as they hadn’t... 10:06 PM
  • skoc211: What a lovely story. I grew up in a stiflingly conservative Catholic family, but the one godsend was that my grandmother was a... 9:49 PM
  • DeepSouthSenior: Last month, Mrs. DSS and I took a preacher friend and his wife to their first opera – The Live in HD Summer Encore... 9:20 PM
  • Camille: ‘Twould be a SCANDALE if she didn’t ever do the Duchess of K.— She’d mop the floor with all them other fools on... 8:48 PM
  • Camille: What? All this sex and bustiers and Der ZeeWoolfe mentions neither the Turandot or the Liù? What’s up? Edit? Nary a... 8:42 PM
  • Quanto Painy Fakor: At least this is fun to watch: httpv://www.youtub e.com/watch?v=RczD Mrh8cSU 8:31 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?