Alright, my humble audience and devoted members at large.

This is serious.

For Spring break this year, I embarked on a very tremendous experience. 

Can you figure what it might have been?

If you are totally stumped, allow me to give you a few hints…

It was neither a shopping trip, though it did involve a magnificent dress (maybe a few, actually…), nor was it a tiara collection upgrade. 

I know it is shocking that I could have possibly enjoyed something more than those two things, but hear me out.

It was pretty much the reason that I love those two things.

Are you with me now?

That is right. I traveled all the way to Manhattan for my first night at the Metropolitan Opera House!!! 

I am still floating on a cloud, and the trip was one month ago.

The entire trip was a much needed change of pace.

I have been to the city many times, and even to the Lincoln Center to marvel at the fountain and lose myself in a premonition of my future… but I digress.

LET US DISCUSS OPERA!!! 

And if it grows too dense for you… you can jump to my dress discussion which follows ;).

It was a fine night for some Strauss. Ariadne auf Naxos appears as an entirely digestible affair, as a prologue and one act. The story is the chaos of collaborative efforts of an opera and a comedy troupe to put on a last minute combined performance for the biggest wig in all of Vienna. 

The gorgeous voice of Isabel Leonard is new to me, however, it is much obliged.

Yes… the mezzo soprano Komposer has a gorgeous voice. In fact, to my dismay, her character only sings in the prologue. 

Then, that actual production, which is Act One, features another mezzo soprano and the soprano from the first part, which were sung by Lise Davidsen and Brenda Rae, respectively.

Lise Davidsen possesses a voice that demands to be heard, and cannot help but to be, I imagine, no matter where you are sitting in the house. 

Zerbinetta’s 10 minute soprano aria features a larger than life amount of coloratura, which is a joy for the heart, and it is a wonder that one could go on singing for such a length of time.

If I am to be honest with you, the opera itself is not for me. I am much more partial to Strauss’ Lieder, though I am also familiar with Salome, and… what a spectacle she is.

As far as modernism in music goes, I am not the girl to appreciate it.

I hope that does not come as a shock.

I am very classical in my taste, but I would understand if you thought that was simply a matter of maturity.

For me, the staging was a bore, other than the fantastical and precious carriages upon which the three nymphs that appear to Ariadne in her cave of misery flutter their harmonies.

The three singers were pleasing to listen to, and aesthetically, it was delightful. Aurally, clearly and simply existed the harmony and characteristics of Strauss that I could get behind.

By the by, they were wearing 20 foot tall gowns that made them appear as almost a part of the landscape.

See? I go for the dresses.

Further, we may discuss also Ariadne’s dress. It was sparkly and full — the perfect adornment for such a voice. I would have died to marvel at that gorgeous gown up close.

With that… you must see my dress. I know this is what you were waiting for.

It has been a long time coming that I would debut this dress, and I am awfully glad that this was the occasion. I felt glamorous yet sleek, and Bentley as ever with my pink pumps.

Here is the manifesto, not at its beginning, but as it has existed forever, and will continue on for the rest of my life.

Prima donna is not just a title, but a manner of existence.

It is in this way that I will continue to achieve excellence as the most authentic version of myself.

Whether I am at the Met, La Scala, the smallest opera house that is only known to those that live there, forever prima donna will I be.

XOXO, Bentley