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How Is This "Objectionable?"

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Answering the call for diversified submissions, I'd like the assistance of all Op-Eders.  I have attempted to post a positive review of the 16 January 2009 performance of "Antony and Cleopatra" by the New York City Opera at Carnegie Hall on the NYCO page at Facebook.  However, Facebook claims there is "objectionable material" contained in it and refuses to post it.  Facebook hasn't answered my query, NYCO likes the review and has no idea why it can't be posted and several of my friends have made suggestions but nothing seems to work.  One is dropping the Leontyne Price reference, but no soup for me.  So, I'm asking the highly sophisticated and culturally aware members of OpEd.com to help out.  No idea is too outrageous considering I'm dealing with nameless, faceless and possibly gormless entities.  The review follows:

Title:  Best Performance Ever

"Antony and Cleopatra" has had a rough life. Commissioned by the Metropolitan Opera for the opening of its Lincoln Center house in 1966, it suffered a variety of mishaps and ended up a failure with only eight performances. Part of the problem was that Samuel Barber was shaken by European reviews of his highly successful "Vanessa." Critics at Salzburg Festival were unhappy that it wasn't an avant-garde atonal piece. Therefore, Barber may have been driven to prove his European skeptics wrong. The result is music that alternates between tonal and atonal styles, which disappointed the New York critics and audiences expecting a modern day "Aida." Therefore, New York City Opera's concert version of "Antony and Cleopatra," its only staged production of the 2008-09 season, was a chance to see if the "People's Opera" could do justice to a star-crossed work. On Friday, 16 January, at Carnegie Hall, the finest performance of Barber's work was delivered. Everything was perfect. Maestro George Manahan's tempos were spot on, the orchestra responded with a flawless performance in a house with far better acoustics than they are used to. The chorus sang with rhythm and tone that flowed into the ear. Lauren Flanigan, whose dramatic soprano voice is far more appropriate for the role of Cleopatra than Leontyne Price's, gave one of her most memorable performances yet. As Antony, New Zealander Teddy Tahu Rhodes announced himself to the New York audience as a world class baritone, David Pittsinger's Enobarbus was flawless and tenor Simon O'Neill's Caesar showed him to be ready to take the operatic scene by storm. Supporting mezzo-sopranos Sandra Piques Eddy and Laura Vlasek Nolen provided expert comedy and pathos in the roles of Charmian and Iras. The rest of the cast was uniformly excellent. Finally, Barber's dreams were fulfilled. Bravo, NYCO

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I am a freelance writer located in New York City. I am also a Certified Lay Speaker in the Metropolitan District, New York Annual Conference, United Methodist Church. I am considered a Jewish Christian or Christian Jew, whichever you prefer, (more...)
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