Cher Public

  • m. croche: “I think New York feels envious in one way and critical in another way of all the new operatic activity taking place... 7:43 PM
  • Bill: Camille – James King was a wonderful Bacchus and until later in his career seemed to sail through the role with only the... 7:14 PM
  • Bluebeard: whom I have found….apologies. 7:13 PM
  • Bluebeard: Joyce Didonato, Anna Caterina Antonacci, Cecilia Bartoli are just a few who I find or have found excellent on recording in... 7:13 PM
  • Bill: Amerjacquino – I saw Murray a number of times as the Komponist in Vienna and never much liked her in the role – no... 7:10 PM
  • Kassandra: Speaking of Theodora, the 1st of September (already overseas) was for the Eastern Roman Empire (Byzance) the beginning of the... 6:57 PM
  • steveac10: So by your terms, Flagstad should have stuck to Fledermaus and Faust for the balance of her career and never ventured into the... 6:55 PM
  • Bill: Welser-Moest apparently prefers sopranos as the Komponist. And many sopranos could do the role these days but just no longer try it... 6:55 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 »