Cher Public

  • redbear: For the new Paris Opera production of Moses und Aron, the golden calf will be represented by a real one who will be onstage for... 6:07 AM
  • Cicciabella: *encourage, instead of COUTting them off 3:59 AM
  • Cicciabella: Bravo, Mr Gutman! Way to encoutage young people to choose a career path in the arts. 3:32 AM
  • La Cieca: And when I was born the most popular film of the year was White Christmas. What’s your point? Attendance at the Met has... 2:11 AM
  • erricco: That was an outstanding production…& #8230;…and Ottawa had many others in those years 12:34 AM
  • Quanto Painy Fakor: On the other side of town an old man is screaming for Stella by starlight httpv://www.youtub 12:23 AM
  • Quanto Painy Fakor: Looks like Roberto is feeling chipper for the second Vasco da Gama (lots more out there) httpv:// 12:15 AM
  • Bill: Bronzino – yes when I was young and my great aunt had 4 subscription tickets for every Met matinee in the first row of the... 11:43 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?