Carlos De Antonis' American Debut
2 ratings since posting on Saturday, March 24, 2007
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Overall Rating  based on 2 ratings |
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Carlos De Antonis, remember that name. Should you be given sufficient warning that he's about give a performance in your neighborhood, take evasive action and plan to be out of town that weekend. This way there will be no need explain to your less discriminating friends why you wouldn't enter any concert hall where Mr. De Antonis was performing, not even if the hall was on fire and filled with blind, orphaned children. The world of classical music is replete with infamous, wrong-headed reviews of debut performances and performers. One of my favorites is this assessment of Tchaikovsky's beloved Violin Concerto by the 19th century's most influential music critic, Eduard Hanslick: "It brings to us the revolting thought that there may be music that stinks in the ear." However, in the case of Mr. Antonis it would be nearly impossible to be sufficiently wrong-headed. Last night's prancing, mincing, vocally over the top American debut performance at UCLA's Royce Hall beggars description. The hodgepodge mixing of musical genres, (euphemistically called "crossover"), was jarring enough to set the cause of classical music back decades, even centuries. This in-your-face, hyper-effeminate, terminally emotional male singer, is a type of performer wildly popular in super macho Latin American countries, though, for the life of me, I can't see why. Sneering reviews of debut classical performances are hardly anything new and, until now, I've never sympathized with reviewers wrote them. Last night's assault on two of my most cherished senses has changed my mind forever. - John , posted 03/24/07 |
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