Lincoln Center hosted two milestones this week: on Wednesday, The Juilliard School produced a gripping production of Handel’s Radamisto incorporating into an opera for the first time its much-heralded original-instrument orchestra Juilliard 415, while the following night saw choreographer Mark Morris’s radiant setting of Handel’s L’Allegro, il Penseroso ed il Moderato returning to celebrate its 25th anniversary as part of the White Light Festival. Read more »
I suspect most New York City opera-lovers had long since given up hope that the fascinating soprano Anna Caterina Antonacci would ever return to their city. But in the spring of 2102 after an absence of over 13 years, she presented a rapturously received recital of Italian songs at Alice Tully Hall. Wasting no time, Lincoln Center invited her to bring her one-woman performance piece Era la notte to this year’s White Light Festival which presented the US premiere Wednesday evening at the Rose Theater. Conceived and directed by Juliette Deschamps, it featured Antonacci performing four challenging monologues by early-to-mid-17th century Italian composers accompanied by seven members of the French period orchestra Les Siécles. Read more »
Although it wasn’t unknown in the 18th century for a composer to set a libretto (usually by Metastasio) more than once, I can think of no other case that resembles Handel’s complex relationship to the story—derived from Ovid’s Metamorphoses—of the ill-fated love between the shepherd Acis and the sea nymph Galatea. Read more »
While James Levine’s name might not immediately spring to mind when pondering the great Mozart conductors, he does have a long and distinguished career leading operas by the Austrian master.
Seventeenth century opera remains the true connoisseur’s delight partly because it’s so rarely done.
The behavioral phenomenon of limerence has been described as “an involuntary potentially inspiring state of adoration and attachment to a limerent object involving intrusive and obsessive thoughts, feelings and behaviors from euphoria to despair, contingent on perceived emotional reciprocation.”