The more I think about Laura Claycomb's Zerbinetta last night, the more
smitten I become. Not "only" was it a stunning vocal performance, but she
brought something unique to the role.

Even the finest Zerbinettas in my (long) experience were opera divas,
trying to present a gutsy, down-to-earth, slightly (or from Ariadne's
viewpoint, very) common character.  Without exception, they remained Great
Singers, their attempt to "humanize" the character not quite successful.

Claycomb's Zerbinetta is as natural, real, blustery-vulnerable, occasionally
awkward, but ultimately winning girl-next-door on stage as it is humanly
possible.  She has just become the standard for me, dramatically at least,
against which to measure future performances.

Another "Ariadne" matter: a friend from Canada wrote in response to my
tribute to Lotfi Mansouri's role in establishing supertitles as normal
procedure, so that even Strauss operas now make sense...:)

   Actually, it was John Leberg, who at the time was working with Lofti
   Mansouri in Toronto, who invented the idea of supertitles.  He continues
   his Friday afternoon opera seminars in the little town of St.  Marys
   near Stratford.  Babs

I appreciate the information, new to me, but I think it's also right to
acknowledge Lotfi's role as an administrator in making this "barbarian thing"
(as the operatic high society then regarded it) stick and become a near-global
presence.

Janos Gereben/SF
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