It is a brief, charming moment — and subtle enough that some audience members may miss it. But it speaks loudly as a symbol: the distinctive clicks of Zulu, the African language, echoing from the stage of the Metropolitan Opera.

It comes during Donizetti’s comedy “La Fille du Régiment.” Pretty Yende, the bel canto soprano singing the title role — Marie, an orphan raised by an army regiment — ad-libs a brief spoken monologue as her character gives vent to overwhelming, conflicting emotions of love and frustration as she deals with laundry and peels potatoes.

Read the full article on The New York Times

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