Too rarely does a moment arrive during an opera or a concert when a great piece of music meets an inspired artist: time stands still and you experience Nirvana. Sunday afternoon at Carnegie Hall two remarkable slices of soprano-heaven were served up, first by Carolyn Sampson and then by Erin Morley, during the second act of Handel’s Orlando. Their transcendent pair of arias elevated an uneven performance of one of Handel’s most challenging operas by The English Concert. Read more »
Standard fare threatened to dominate the final weekend of February at the Met: a routinely-cast revival of Cav & Pag plus two recent productions by the house’s favorite Eyre-head. But then there were also two extraordinary opportunities to indulge in divadienst of the “An(n)a-in-excelsis” genus—Saturday offered another chance, announced only 24 hours earlier, to sample Ana Maria Martinez’s unexpected Butterfly, then Sunday afternoon brought Anna Netrebko’s exceptional, sold-out sui generis all-Russian recital. Read more »
Mezzo-soprano Joyce DiDonato is first among equals in a spectacular cast when she sings the title role of Ariodante in this season’s installment of Carnegie Hall’s critically acclaimed cycle of Handel’s operas in concert. A brilliantly melodic work, the opera features outstanding arias for each of the principal singers, including Ariodante’s melancholy “Scherza infida” and show-stopping “Doppo note.” Harry Bicket and The English Concert bring authentic Handelian brilliance to this marvelous opera. (Photo: Simon Pauly) Get tickets. Read more »
Back when I was a good boy, I told my parents that my goal in getting my first job was to earn money for college; however, my real motive was to make my secret wish come true—to be able to consort with “pirates.” Read more »
The opening night of the Metropolitan Opera of September 1972 was supposed to be the dawn of a new era.
From an early Mike Richter CD-ROM, “Odd Opera” comes this gem, a live performance of Handel’s Semele at Carnegie Hall on February 23, 1985, the 300th anniversary of the composer’s birth.
Of course, we all know a Marilyn Horne anecdote without a four-letter word is about as plausible as a martini without gin, but the tale that kicks off her Q&A with Zachary Woolfe is particularly bracing. You’ll be both shaken and stirred by this interview in the current Capital New York.
La Cieca has learned that The Metropolitan Opera Guild will pay tribute to legendary American mezzo-soprano Marilyn Horne (right) on Monday, October 31, when stars, fans of opera, and the cream of New York’s society, business, and civic leaders assemble in the Grand Ballroom of the Waldorf-Astoria for the Guild’s 77th Annual Luncheon.