Headshot of La Cieca

Cher Public

  • manou: Toscanini ed “passatoR 21; non hanno bisogno di lettere in più. 5:52 PM
  • kashania: Well, that feistiness carries through the third act. My throat hurts! She’s very exciting but... 5:28 PM
  • ML: Yes, and that’s the best line in the whole damn libretto! 5:20 PM
  • ML: Just out of curiosity, does anyone know how Jane Eaglen in her EMI recording handles the role, and... 5:12 PM
  • mercadante: I heard that Liu in Philadelphia and thought it quite excellent also. 5:09 PM
  • Archaeopteryx: And La Grubsi’s leg injuries seem to be forgotten. She excelled in July in Zurich as... 5:06 PM
  • Archaeopteryx: Gruberova does Casta Diva in G normally, since she started to sing the role she didn’t... 5:04 PM
  • kashania: ML: You’re welcome. I just listened to all of act two. She’s particularly feisty... 5:01 PM
  • ML: Many thanks. 4:59 PM
  • operaassport: Was he trying to look like an exile from a John Carpenter film? 4:45 PM

Practical magic

Notable purveyor of mayhem and infanticide Medea has lately been missing from the local operatic scene, but Sunday afternoon sections of the recently renovated Alice Tully Hall were singed by Canadian soprano Dominique Labelle’s blazing incarnation of the Greek sorceress during a concert performance of Handel’s neglected early opera Teseo by the Philharmonia Baroque given during its second visit this summer to the Mostly Mozart 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 »