Cher Public

  • Milady DeWinter: Milles mercis, Jungfrau – blissful anodyne to the brutal news and heat. Treptow can make you wince, but... 4:04 PM
  • PCally: Well Bill I have attended several performances of Parsifal in Vienna, including a performance around Easter, and there has always... 4:02 PM
  • gustave of montreal: Tout à fait ! 3:40 PM
  • Bill: Well, people stand up for the Hallelujah Chorus in Handel’s Messiah a tradition for centuries. Also a phony custom ? I cannot... 3:31 PM
  • La Cieca: That may have been true 30 years ago, but I have never in my life attended a Parsifal at which there was no applause after the... 3:12 PM
  • chicagoing: James Levine appeared as scheduled to lead the Chicago Symphony Orchestra at Ravnia on Saturday night. Unfortunatley for that... 3:07 PM
  • umangialaio: Pankratova, a favourite of mine after her splendid Faerberin in Milan and Mucnich, just delivered a Belcanto-Kundry, comme il... 2:52 PM
  • Bill: Generally in my experience at Parsifals at the Met, in Vienna, in Budapest and in Germany there is not clapping after the first act.... 2:16 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?