Headshot of La Cieca

Cher Public

  • Poison Ivy: Here’s the ovations on youtube. It does sound like there was some small but persistent... 7:51 PM
  • jd: I was there and I loved it! Damrau was especially good as was Christian Gerhaher, the baritone. Big... 7:43 PM
  • Rackon: Wish I had been there – it *is* one of my favorite requiems, both to sing and to hear. 7:40 PM
  • Milady DeWinter: Sweetie, from your mouth to God’s ear : Anna, come save AIda! I totally agree that she... 6:21 PM
  • calaf47: Yes…a very exciting evening in every way…with the “second̶ 1; cast and... 6:18 PM
  • Lindoro Almaviva: While I am at it, why not Larmore or Sonia Ganassi? They are moving to heavier Rep with... 6:05 PM
  • Lindoro Almaviva: I think Vesselina Kassarova used to do the role and she sounded pretty ferocious in it.... 5:58 PM
  • Uncle Kvetch: I saw it 10 days later, on Halloween. The Pamina that night was Miah Persson, and Toby Spence... 5:27 PM
  • antikitschychick: best of luck to you on your business travails Sanford :-). 5:11 PM
  • antikitschychick: yes Aida does require a lot of stamina…only singers with great technique can get... 5:09 PM

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 »