Headshot of La Cieca

Cher Public

  • danpatter: Thanks for this. It’s a release I’ll be skipping, and heaven knows I need to skip more... 2:35 AM
  • Cicciabella: 1. Select and copy the excerpt you need translated. 2. Go to http://translate.g oogle.com/m/tr... 1:52 AM
  • Batty Masetto: Belated thanks, Valkyrietta – I don’t log in here as much as I used to, like... 12:31 AM
  • mia apulia: I remeember at the time of the Caballé/Verett Norma thinking that, as much as I loved and still... 12:06 AM
  • mia apulia: and just how does one get Google to do that for one? non parlo tedesco….. 11:36 PM
  • Ruxxy: Well done sweet Sanford :) 11:35 PM
  • FragendeFrau82: Excellent review of Netrebko’s Vier Letzte Lieder recital. I hope we all get a chance... 10:38 PM
  • Camille: Thanks so much, Feldmarschallin!! My prayers have been answered for my wish to hear this work and... 9:48 PM
  • Lindoro Almaviva: Wouldn’t it? i am in Chicago often enough, i am but less than  miles away from Chicago 9:01 PM
  • Clita del Toro: Lindoro, that would be fun! 8:42 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?