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Cher Public

  • Porgy Amor: I read mixed reviews for Sparafucile recently, but I wondered how much that was the production.... 7:25 PM
  • Milady DeWinter: Dazzling, Camille. Both volumes of “Command Performance” may be THE Sutherland... 7:25 PM
  • Jungfer Marianne Leitmetzerin: Mr. Speedo will be on your alte Jungfer’s Mixcloud Website in about two... 7:15 PM
  • Avantialouie: Congratulations to Kelsey from a member of the Chicago audience who heard him often during his... 6:41 PM
  • Porgy Amor: https://www.youtub e.com/watch?v=PBAz BWYoR9U 6:30 PM
  • Porgy Amor: Darn. I was sure the mystery link was going to be to Julie Christie classing up a frontier... 6:29 PM
  • Camille: Ingeborg Gillebo of Norway was a last minute sub on the Tucker Gala, wasn’t she, singing... 5:52 PM
  • Camille: Oh yes, my parents got to hear Swarthout in their college days and invariably referred to her as... 5:36 PM
  • Camille: Well, that reminds me of another thing: Don José stood and listened to and witnessed Carmen’s... 5:18 PM
  • marshiemarkII: And Quinn was absolutely sublime as Marcello at the beginning of the season, saw him twice and... 5:05 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?