Headshot of La Cieca

Cher Public

  • Feldmarschallin: Congratulations. Two people I know got tickets, one for the premiere and one for the second... 7:50 AM
  • Feldmarschallin: Not to mention the piano G on ‘Rosn’ . 7:47 AM
  • tiger1: The opening phrase of the trio also contains a high B flat and should be very “floating 221;... 7:43 AM
  • Lohengrin: May be in Salzburg he was not as familiar as necassary withe Don Carlo…... 7:29 AM
  • Feldmarschallin: Well I heard Hampson as well live in Salzburg and thought he was horrible. Dry tone the... 7:00 AM
  • Lohengrin: Ich have seen DC livein Sakzburg. TH was in general a convincingly Posa, but his singing was... 6:31 AM
  • Feldmarschallin: Well in that Arabella it is a tie who is worse and it is also a tie who looks older. Not all... 4:26 AM
  • ML: He is past the end of his shelf life. Have you heard the Sony Don Carlo? 4:04 AM
  • m. croche: Also forthcoming. Reviews enclosed. Can you spot the JJ? httpv://www.youtub e.com/watch?v=5... 2:27 AM
  • danpatter: Camille, I believe Beverly Sills’ recording of NORMA has “Casta diva” in G,... 10:47 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 »