Puffy Pandering's Plateau

Seriously, who cares?

HOW DO you add sparkle to a fatigued operatic war horse? Bring out the jewelry and let it shine under the spotlight.

(blank stare)

But not just any old jewelry. For its latest revival of "Tosca," opening Saturday, Los Angeles Opera has obtained a rare stage artifact -- the jewelry worn by Maria Callas in 1956 for her Metropolitan Opera debut as Giacomo Puccini's tragic heroine.

Made of nearly 200 tear-shaped Swarovski crystals, the jewelry was created specifically for Callas by the Atelier Marangoni in Milan, Italy.

The three-piece set, which consists of a tiara, earrings and a fanned-out necklace, is worth approximately $85,000, according to Swarovski, the current owner.

"To wear this talisman -- I have to pinch myself," says soprano Adrianne Pieczonka, who shares the role of Tosca in this revival with Georgina Lukacs. "People were taken aback by how bright they were during rehearsals. It doesn't bother me, but I hope it won't be a distraction for the audience."

Pieczonka will wear the Callas jewelry in Act 2 of "Tosca," which is the most vocally and physically demanding section of the opera.

You know, I heard through the grapevine that the Berlin Philharmonic will be touring North America under the direction of a secret, but famous, conductor to be announced later. He/She will be wearing Karajan’s underwear. The very underwear the maestro was sporting during a random performance of Strauss’s sweaty, super-physically demanding “warhorse,” Ein Heldenleben. And in case you're wondering, the Maestro's extra-special change depository hasn't been washed for nearly thirty years.

I mean, really, who cares? That's as deep as this analysis is going. Take it or leave it. Don't like it? Whatever, I do what I want.
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