Cher Public

  • Chenier631: Interesting turn of events to be sure. I am excited that SRad will be doing the new Norma here in NY. Her previous... 1:59 PM
  • The Poet Lenski: Radvanovsky really gets the best of all worlds here. She gets to keep her new production of FORZA and pick up the NORMA.... 1:53 PM
  • Camille: Perfect. You’re hired as my casting director. Now THAT would be a sell-out! And Garanca could sing Olga Bol’Shoye... 1:40 PM
  • antikitschychick: Holy shit Yoncheva is not fucking around is she?!! Never would have expected this although it makes sense they would... 1:38 PM
  • PushedUpMezzo: I wouldn’t rely too heavily on Opera’s predictions these days. In the same issue they “hear that”... 1:37 PM
  • Camille: Proving once again that an iPhone in the hands of an old woman writing in the dark creates mayhem: as in “fomplser 221;... 1:37 PM
  • Bluebeard: I wouldn’t be surprised if those costs were just too high for the NY Phil. If they still have Eric Owens for that period... 1:23 PM
  • kashania: I loved Yoncheva’s Desdemona in the Met HD. I haven’t heard her in anything else so I’m not entirely sure... 1:20 PM

Everything is illuminated

Few new operas have received the near-unanimous acclaim that has greeted Written on Skin since its first performance at the 2012 Aix-en-Provence Festival. The subject line of the email I received from Lincoln Center promoting its US stage premiere went so far as to proclaim it “the opera you’ve been waiting for!” The excitedly expectant audience that filled the former New York State Theater Tuesday evening hailed it with a loud and prolonged ovation, but the intensely complex 90-minute work proved easier to admire than to love.   Read more »

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 »