Headshot of La Cieca

Cher Public

  • Feldmarschallin: I heard two of those Salomes in Wien plus many other roles in München, Zürich, Stuttgart,... 1:02 PM
  • Feldmarschallin: Well certainly early on Callas had an easy top which at least reached to high E. In the... 12:28 PM
  • alejandro: Yowzers. Well, it’s a good thing I don’t know the score at all and I love the... 12:19 PM
  • Poison Ivy: She comes to grief at around 8:00 — there’s some swallowed notes, she ignores the... 11:52 AM
  • Poison Ivy: I wonder if it’s the coloratura in Lucia that makes her uncomfortable. I heard her... 11:35 AM
  • calaf47: In the recent “Romeo” ; concert version from Spain with Yoncheva and Alagna….Y... 11:31 AM
  • Milady DeWinter: I agree with Bill and FeldM- Lucia is not the role for Yoncheva as she is not an E-flat... 11:12 AM
  • Marcello: Not that I am especially keen on Lucia, but there have been quite some unexplained cancellations... 10:59 AM
  • Bill: Yoncheva did have a bit of trouble with all her highest notes as Violetta at the Met last week –... 10:53 AM
  • Bill: Zampieri’s voice was an acquired taste particularly as she had several registers (all 3 of them... 10:40 AM

The secret of nymph

“Imagine, if you can, sitting in crisply-pressed linen, sipping a perfectly chilled strawberry mojito wafted to your sidewalk table by a ravishing server, as you listen to the murmur of leaves without even the echo of a car radio or a cranky child’s whine to mar the tranquility… and, while you’re at it, throw in a sumptuous sky display as the evening sun sets over the Hudson River. Now set the whole experience to music by Handel, and you’ve got an approximation of Mark Morris’ staging of Acis and Galatea at Lincoln Center. It’s everything good about summer condensed into two hours.” [New York Observer]

Get happy

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 »

A boozy short leave

After 23 years, the Queen of Carthage has finally made it to Manhattan. On Wednesday night, Lincoln Center’s Mostly Mozart Festival hosted the Mark Morris Dance Group’s acclaimed 1989 production of Purcell’s Dido and Aeneas at the Rose Theater, and Morris who created the double role of Dido and the Sorceress for himself and danced it exclusively for over a decade was there–this time as conductor–with Stephanie Blythe singing the two roles from the pit as she had done last fall in Berkeley.   Read more »