Cher Public

  • phoenix: right you are Rudie – Sig. Bybee advertises himself as a baritone - I remember the old RCA Moffo set. It was engineered so... 4:39 AM
  • soubrettino: I love a good Rondine. The Doretta’s dream is done to death IMHO, and I prefer Magda’s second aria.... 3:59 AM
  • manou: As I am in the mood for an excruciating bilingual pun (and when am I not?), I will ask whether the stage holes are green. 3:57 AM
  • NPW-Paris: “Netrebko herself took a tumble in one of the Paris Opera potholes.” With whom? 2:52 AM
  • NPW-Paris: In true French style it was announced that A.Netrebko would be replaced by “Madame Eh”. I wonder how they might... 2:50 AM
  • CwbyLA: Great review Albert! So informative. It was a great pleasure to read it. I saw the work in Santa Fe last year. It was my first... 2:25 AM
  • Vergin Vezzosa: My out on a limb guess for Salome next season at the Met is Lisa Lindstrom. Please not Nada M.. Next week we will know. 2:18 AM
  • NPW-Paris: As it happens, so did I. I only ever saw her once before in in I Capuleti, and it wasn’t a great evening – at... 1:39 AM

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?