Headshot of La Cieca

Cher Public

  • Poison Ivy: And I ask this because when I saw the POB (they came to NYC two years ago) the casting was... 7:58 PM
  • Poison Ivy: While we’re at it does the POB attract a similar young crowd? Or does ballet/dance attract... 7:54 PM
  • oedipe: BTW, the ONP has just published its 2013 accounts. It seems that the average age of the audience last... 7:47 PM
  • steveac10: Unless you’re a once in a generatio artist, is it really possible to get more than a golf... 7:39 PM
  • oedipe: Not the prettiest high notes, but they were there and well projected. Unfortunately, she didn’t... 7:37 PM
  • fletcher: Thanks for the info, oedipe. As for the audience being young, I think you’re right to credit... 7:35 PM
  • -Ed.: See? Better to wear an emerald necklace, like I do. Emeralds do not countenance vulgar clutching. At... 7:31 PM
  • Poison Ivy: How was Urmana’s top in Isolde? Last time I heard her she definitely had problematic high... 7:22 PM
  • Clita del Toro: I heard only parts of Puritani last night: additionally, the clip from the Met and several... 7:17 PM
  • Flora del Rio Grande: jacquino: I always make a point to review Ms. Racette’s bosom when I cover her... 7:04 PM

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 »