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We Even Had to Wear Dinner Jackets

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![](http://images.squarespace-cdn.com/content/v1/56c346b607eaa09d9189a870/1487268405779-JOBSH2QUVU8VD0HOP6NQ/DLC_DIANA_DAMRAU_GOD_POURS_LIFE_FNL_2015x20-FLAUNT.jpg) [](#)[](#) We Even Had to Wear Dinner Jackets Prima Donna Diana Damrau Poses for David LaChapelle Bavarian-born Diana Damrau’s most performed role, The Queen of the Night from Mozart’s _The Magic Flute,_ was initially composed for a ‘flawed’ voice. Registering several octaves above typical arias, it is dreaded by most sopranos, making it an interesting selection for a repeat. The word ‘opera’ in Italian translates very neatly as ‘work’ in English and it is clear Damrau takes that elucidation seriously, rendering it unsurprising that Damrau would not shy away from her opus. Gone are the days of prima donnas stoically arranged in ballet’s third position, belting out the third act of _La Traviata_ while a harem of rich patrons twist uncomfortably on velvet thrones; this coloratura soprano attacks her roles with an agility reserved for roe deer in the throws of a robust hunting season. She’s since retired the vengeance aria, and though atypical, of most Night Queens, she continues to sustain a vigorous career in its absence. With a current repertoire rivaling the length of _Der Ring des Nibelungen_ as well as a debut  in Iain Bell’s original _A Harlot’s Progress_ as Moll Hackabout at Vienna’s Theater an der Wien during the 2013/2014 season, Damrau continues to reign Queen.