Opera Suggestions

Discussion in 'Off The Beaten Track' started by agalisgv, Oct 3, 2009.

  1. kwanfan1818

    kwanfan1818 I

    Joined:
    May 24, 2003
    Messages:
    19,438
    Garanca was amazing, and I still don't understand how in men's clothing in Act I, she looks so convincing as a man -- a very handsome one, at that -- and in Act II, when she's in the prison smock, she goes back to looking like a beautiful woman. She's a terrific actress.

    I loved Frittoli in this. Of course, with it being miked, I have no idea how it sounded in the house, but Vitellia seemed a lot more comfortable for her voice than Donna Elvira, and she out-Erica Kaned Susan Lucci.

    I loved Lucy Crowe: what a wonderful Met role debut.

    I think this cast and production really got to the guts of the piece. Only Mozart could make opera seria into a weeper.
  2. IoanaC

    IoanaC Active Member

    Joined:
    Feb 17, 2010
    Messages:
    582
    My problem with Frittoli was more in her attitude/acting: too "foxy" and not regal enough, I thought. Next to Garanca's effortless acting, hers seemed a bit forced, especially in the first act.

    I agree about Lucy Crowe, she was lovely. Kate Lindsey was excellent too.
  3. SaSherka

    SaSherka New Member

    Joined:
    Mar 15, 2003
    Messages:
    4,830
    I believe I read somewhere that Frittoli's acting was what the director intended in this production. I too was taken aback by her overacting that didn't fit the rest, but apparently it wasn't all her "fault".

    I loved this at the Met and I loved this in HD. I think Tito/Fillianoti was the weakest spot in this very high-level casting. Fritolli actually sounded better / more even in HD compared to the opening night, while Fillianoti seemed a bit strained today (better in the 2nd act, same as opening night)

    Love-love-love Kate Lindsey and I think she'll make a dashing Sesto in the future.
  4. Marge_Simpson

    Marge_Simpson Well-Known Member

    Joined:
    Jul 26, 2001
    Messages:
    5,164
    So, I ended up going to see "Don Giovanni" on Wednesday, I managed to get one of the $20 orchestra seats. Yeah, yeah, I know the sound is better if you are higher up. But there's a much better chance of me staying interested if I'm close enough to see everything that's happening on the stage.
    I wanted to like this, I really did. But "pleasant" is as far as I'm willing to go with my praise.
    It's weird. emason's quibble with the Joyce DiDonato concert was that the pieces were relatively unknown and out-of-context. I had no problem with that, because I was just enjoying the beautiful music and marveling at her astounding voice. Similarly, I really enjoyed the recital that Skateboy organized in NYC earlier this year.
    I thought seeing an actual opera would be an eye-opener for me and I expected to enjoy it. I mean, how can anyone dislike Mozart? But I really didn't. I didn't hate it, I certainly didn't have a brain disconnect, but I couldn't really get involved with what was happening on the stage. I guess I can't really appreciate opera as an art form, because my mind kept wandering in all different directions. ie, "Yeah, yeah, we get that you're a scorned woman, you told us that already. Why do you keep going on about it?" It didn't help that Susanna Philips voice hurt my ears, or that Erwin Schott reminded me of someone in his wig.
    So I was there pondering, "He looks like someone familiar....but who? OMG. Ian Astbury!"
    http://www.youtube.com/watch?v=YgPvRSAdK6o

    So then I kept hearing The Cult playing in my head. ("And so in her you'll find.....sanctuaaaaaaaaaaaaaary!")

    However, it was not a wasted evening by any means. I struck up a conversation with the guy sitting next to me during the intermission. We have a dinner date on Sunday. :)
    BYTCH and (deleted member) like this.
  5. emason

    emason Well-Known Member

    Joined:
    Oct 12, 2004
    Messages:
    3,277
    Marge,

    Give opera another try. Think of it like the ballet; you know, how the casting and the production have a lot to do with it. Like how we can't stand ABT's Swan Lake, but we had no trouble grooving on the one from the Australian Ballet.

    I like Don Giovanni, but think this particular production doesn't work. Saw it once and don't need to see it again, but I would go hear someone else's version.

    (Enjoy dinner on Sunday.)
  6. kwanfan1818

    kwanfan1818 I

    Joined:
    May 24, 2003
    Messages:
    19,438
    I liked the take: she was playing a diva, and she moves and gestures really well.

    I heard most of two performances on Sirius -- one may have been opening night -- and ITA about Fillianoti: his voice sounded easier earlier in the run than today.

    In the duet with Servilla, her lower register was fantastic. I agree it's in her future. In one of the Sirius intermission interviews -- maybe during "Aida"? -- Elina Garanca said that this would be the last Sesto for her, and that she's retiring the role. She also talked about her daughter, ~ 18 mos old, which was very sweet.

    I thought Susan Graham was Deborah Voigt for a moment. Does she realize that in ten years, her hair will look as dated as the big hair she wore when she won her Met Auditions?
  7. BlueRidge

    BlueRidge AYS's snark-sponge

    Joined:
    May 24, 2002
    Messages:
    42,189
    I love Elina Garanca so I loved seeing her in this. I was very excited when I heard Lucy Crowe was making her debut in this and I thought she was great. Kate Lindsey was just fantastic, I would love to see her as Sesto!

    I listened to the interview on the Met Live Stream Thursday with Barbara Frittoli so I was primed for her performance to be as it was and I really enjoyed it.

    Besides, four fabulous women, what more could you want! :swoon:
  8. kwanfan1818

    kwanfan1818 I

    Joined:
    May 24, 2003
    Messages:
    19,438
    I loved Fillianoti's sad-sack, but handsome, face, but I'm really glad they took the initial wig off. The men in the standard wigs, though: it looked like a town of Dr. Bartolos.
  9. SaSherka

    SaSherka New Member

    Joined:
    Mar 15, 2003
    Messages:
    4,830
    6! A few of us, opera dreamers, came up with a theoretical all-female casting :lol:
    An all-mezzo version of La Clemenza di Tito: Stephanie Blythe as Tito, Elīna Garanča as Sesto, Joyce DiDonato as Vitellia, Cecilia Bartoli as Servilia, Alice Coote as Annio, Ewa Podleś as Publio
    (Or an alternative casting: Stephanie Blythe as Tito, Alice Coote as Sesto, Cecilia Bartoli as Vitellia, Joyce DiDonato as Servilia, Kate Lindsey as Annio, Ewa Podleś as Publio)
  10. kwanfan1818

    kwanfan1818 I

    Joined:
    May 24, 2003
    Messages:
    19,438
    I prefer the first cast, because I love Garanca and would rather pass on Bartoli's Mozart, but I"m there :)
  11. emason

    emason Well-Known Member

    Joined:
    Oct 12, 2004
    Messages:
    3,277
    I heard Coote's Sesto in a concert staging of this a few years back at the Jazz at Lincoln Center venue. She was sensational.
  12. kwanfan1818

    kwanfan1818 I

    Joined:
    May 24, 2003
    Messages:
    19,438
    I hate getting announcements of seasons and finding that there are productions or singers I want to see in operas I'd rather not; San Francisco Opera announced it's 2013-14 season today:

    SAN FRANCISCO OPERA ANNOUNCES 2013–14 SEASON
    Mefistofele
    featuring Ildar Abdrazakov (Mefistofele), Patricia Racette and Ramón Vargas in Robert Carsen’s acclaimed production conducted by Nicola Luisotti

    Dolores Claiborne
    World Premiere of new opera by Tobias Picker and J. D. McClatchy, based on Stephen King’s novel, starring Dolora Zajick (Dolores Claiborne) and Elizabeth Futral Vera Donovan) with director James Robinson, conductor George Manahan.

    Falstaff
    With Bryn Terfel (Falstaff), Ainhoa Arteta (Mistress Alice Ford), Fabio Capitanucci (Ford), Heidi Stober (Nannetta), Meredith Arwady (Mistress Quickly), and Francesco Demuro (Fenton). Conducted by Nicola Luisotti. Lyric Opera of Chicago production.

    Requiem
    San Francisco Opera and Music Director Nicola Luisotti will celebrate Giuseppe Verdi’s bicentennial with a special performance of the Italian master’s Requiem on October 25, 2013. The San Francisco Opera Orchestra and Chorus will be joined by a quartet of superb soloists: soprano Leah Crocetto, mezzo-soprano Jamie Barton, tenor Michael Fabiano and bass Vitalij Kowaljow. Jamie Barton and Michael Fabiano were both 2007 Met Opera Council Audition winners, captured on the documentary "The Audition."

    La Traviata
    Music Director Nicola Luisotti leads the Company’s Verdi bicentennial celebration. Two casts: Sonya Yoncheva (Violetta Valéry)/Saimir Pirgu (Alfredo Germont)/Vladimir Stoyanov (Giorgio Germont) and Ailyn Pérez (Violetta Valéry)/Stephen Costello (aka Mr. Ailyn Pérez, Alfredo Germont)/Quinn Kelsey (Giorgio Germont). Nicola Luisotti conducts.

    Der fliegende Holländer/The Flying Dutchman
    Wagner bicentennial distinguished with new Petrika Ionesco production starring Greer Grimsley (Dutchman), Petra Maria Schnitzer (Senta), Ian Storey (Erik), and Kristinn Sigmundsson (Daland). Conducted by Company Principal Guest Conductor Patrick Summers.

    Il Barbiere di Siviglia/The Barber of Seville
    New production of Rossini’s comedy featuring Lucas Meachem (Figaro)/Isabele Leonard (Rosina)/Javier Camarena (Almaviva) and Audun Iversen (Figaro)/Daniela Mack (Rosina)/Alek Shrader (Almaviva), with director Emilio Sagi and Company Resident Conductor Giuseppe Finzi.

    Madama Butterfly
    Patricia Racette (Cio-Cio-San), Brian Jagde (Pinkerton), Elizabeth DeShong (Suzuki), and Brian Mulligan (Sharpless). Sets and costumes by Jun Kaneko. Nicola Luisotti conducts all but the last two, and Resident Conductor Giuseppe Finzi leads the final two performances.

    If I just looked at the rep, considering that I need to get on a plane to see it my top three would be Falstaff, Verdi Requiem, and Dolores Claiborne, but looking at the other aspects, they had to go and hire Jun Kaneko, who did magnificent sets and costumes for "The Magic Flute" in a five-way co-production for "Butterfly," which I actively dislike. They've got Quinn Kelsey, who was great as Amonasro in Vancouver and the baritone guy in Atilla in SF, doing Germont, and he's worth getting on a plane for, and after hearing Alek Shrader's Tamino, I'd love to hear his Almaviva. I hate when they do that.

    For anyone in the Bay Area or visiting, Greer Grimsley did a major Dutchman in Seattle a few years ago.


    ETA: Somewhere in my cut-and-paste I crushed the entry for Jerome Kern's

    Show Boat
    Cast is: Heidi Stober, Patricia Racette, Angela Renée Simpson, Nathan Gunn, and Morris Robinson. Director is Francesca Zambello, who conducted the 2011 San Francisco Ring Cycle, and conductor is John DeMain.
    Last edited: Dec 4, 2012
  13. kwanfan1818

    kwanfan1818 I

    Joined:
    May 24, 2003
    Messages:
    19,438
    Seattle Opera has added three performances of "La Boheme," on Sundays (mat) 3, 10 March and Friday (eve) 8 March. The website lists the alternate cast (Black as Mimi and Fabiano as Rodolfo) for 24 Feb and 1 Mar, at least as of today. The Opening Night/main cast is Caballero as Mimi and Demuro as Rodolfo.

    Until 11:59 tonight (Friday, 7 Dec), Seattle Opera has two holiday discounts, the last of their daily deals this week:

    $75 Orchestra seats for the newly added performances (3, 8, 10 March)
    20% off all other performances of "La Boheme" (in most sections)

    The normal subscriber discount is 10%, and once signed in, it will ask you to choose which discount you want, holiday or 10% for each ticket/price range.

    http://www.seattleopera.org/holidaysale/
  14. kwanfan1818

    kwanfan1818 I

    Joined:
    May 24, 2003
    Messages:
    19,438
    Did anyone here see the Met "Aida" in the house? I've been listening to it on Sirius over the last few weeks, and I've been very impressed with the soprano, Liudmyla Monastyrska. Today I was blown away by her in the Met HD. I would love to see her live, and if she's as good in person, she's going to join Westbroek and Stemme among my favorite sopranos. For the past couple of decades, I've been finding mezzos, tenors, barihunks, and basses to love, but sopranos, not so much, so I'm hoping the answer is "yes."

    Olga Borodina sounded grand -- no one else can do Level 10 bitchface like she -- and in her transition scene of despair between the Act III confrontation with Radames and the Judgement Scene, she shed a single tear.

    Anyone who goes to a performance that's going to be broadcast, don't sit in the front 2/3 of the orchestra, unless you want the camera on you waiting for the performance to start. In the one before "Ballo," they caught a woman picking her teeth. Today, they focused on a woman chatting animatedly on her iPhone. And in another figure skating camera gesture, people are bringing signs, and the camera is zeroing in on them. One woman was, I think, giving a shout-out to somewhere in France, and a tier or two up, someone was trying to get the camera's attention with a sign of his or her own, but the cameras didn't go that high.

    They also had the vomit cam working for this one, with vertigo-inducing overhead shots.

    The Met makeup artists should check out the video: when they do brown face, it's not good when the Amonasro looks green instead.
  15. SaSherka

    SaSherka New Member

    Joined:
    Mar 15, 2003
    Messages:
    4,830
    I saw Monastyrska sing Lady Macbeth at the Tucker Gala a month ago and was very impressed as was the rest of the audience. I didn't catch this run in house, but loved her singing in HD today. Ditto about Borodina! I kept thinking what a perfect Queen Bitch she was (in the best sense) =D The looks Amneris gives to Aida were awesomely to the point.
    I agree about wrong camera angles. I usually don't mind extra close-ups when going to Met HD, but today was badly overdone - too many low angles, too many skycams, too many cuts from one singer to another, especially in ensembles. Also, the sound at our theater was strange as if there was a microphone balance problem. Too quiet, too loud, etc.
    Glad I finally saw this production of Aida though.
  16. kwanfan1818

    kwanfan1818 I

    Joined:
    May 24, 2003
    Messages:
    19,438
    The Live from Lincoln Center 2012 Tucker Gala broadcast has been posted to PBS website, and from the expire date, it should be up for three years:

    http://video.pbs.org/video/2315196220

    ETA: I'm watching it now, and I just realized, those are Borodina's regular nails, not part of her Amneris makeup :eek:

    Edited again to add: It must have been the time I spent under the rock that I never knew that Ildar Abdrazakov was so :grope:
    Last edited: Dec 16, 2012
  17. BlueRidge

    BlueRidge AYS's snark-sponge

    Joined:
    May 24, 2002
    Messages:
    42,189
    I went to the Aida. I thought Monastyrska was fabulous. I would love to see her in more.

    I really hope that overhead cam that migrated from driving us crazy in figure skating goes away.

    I was walking back into the theatre after the intermission and a little girl, maybe 7, rushed in ahead of her mother who said to her, "Aida, please walk! Aida, walk!" I got a kick out of that.
  18. kwanfan1818

    kwanfan1818 I

    Joined:
    May 24, 2003
    Messages:
    19,438
    It's not the easiest player to get to target individual pieces, but if you click the Tucker Gala link and go to Chapter 14 -- the tool tip will show if you put your cursor on the little vertical white chapter marks at the bottom of the video -- after the PBS promo plays at the beginning, you'll be able to hear her singing the letter aria from "Macbeth." It may take a couple of tries, since the promo plays between every few pieces.

    http://video.pbs.org/video/2315196220

    ETA: I'm listening to "Idomeneo" on Sirius and while I'm grateful he was captured on tape and video before medications damaged his voice, I am :wuzrobbed at the loss of the Ben Heppner who's singing in the 1991 performance.
  19. IoanaC

    IoanaC Active Member

    Joined:
    Feb 17, 2010
    Messages:
    582
    Saw "Aida" in HD too and I absolutely loved Monastyrska and her fabulous voice. Olga Borodina was great as well. What did you think about Alagna, though? Renee Fleming interviewed him in the intermission and he said he had found the adjustment a little difficult, from singing Nemorino until a few days ago in London, to a dramatic Verdi part. I just thought his voice sounded somewhat "smallish" yesterday, particularly alongside Monastyrska. I didn't like him at all in "Celeste Aida"...

    I have to say, I didn't mind the sky-cam so much; it was effective in the "triumphal scene" from the second act.
  20. kwanfan1818

    kwanfan1818 I

    Joined:
    May 24, 2003
    Messages:
    19,438
    The part where they filmed the guards standing close to the edge of the set piece that lowered, I had my heart in my throat. (I am a real wuss when it comes to heights.) I liked it once, when they got the shot of Borodina standing between the two cauldrons.

    Alagna reverted to falsetto more than a couple of times, and while it was pretty where he sang in tune -- in the Tomb Scene his pitch went awry -- it was still falsetto, not pppp or pp. (I was trying to follow his explanation.) It sounded better than the typical scream, but Palombi does a real quad piano there, and it felt like a cheat.
  21. IoanaC

    IoanaC Active Member

    Joined:
    Feb 17, 2010
    Messages:
    582
    The falsetto in Celeste Aida was in tune, but still weird. What bothered me more, though, was that there were parts where the other voices seemed to drown his - in the second act especially. Maybe the placement of the microphones had something to do with that too, I don't know. Still, I expected him to have a more powerful presence and I was kind of disappointed.
  22. kwanfan1818

    kwanfan1818 I

    Joined:
    May 24, 2003
    Messages:
    19,438
    "Celeste Aida" was definitely in tune. The Tomb Scene, not so much. (I wished she had stabbed him in the ribs to stop him.) I agree he wasn't carrying very well throughout, but I think he held his own dramatically.

    I read a couple of interviews with Borodina, who said she so preferred singing with Domingo than Pavarotti, because she felt that Pavarotti stood in one spot and did his own calculated thing and didn't care about his colleagues ("He's got this perfectly tuned machine but when he's singing he has cold eyes,") while Domingo cared about the drama. Alagna looked like he cared about the drama and was in the moment.

    http://www.telegraph.co.uk/culture/...lga-Borodina-the-diva-you-dont-mess-with.html
    http://www.guardian.co.uk/music/2005/jul/28/classicalmusicandopera

    Maria Nockin, who does a lot of reviews of regional opera especially, posted this link of an English translation of an interview with Monastyrska to the Opera-L list:
    http://www.day.kiev.ua/en/article/culture/liudmyla-monastyrska-besides-vocal-we-need-image
  23. kwanfan1818

    kwanfan1818 I

    Joined:
    May 24, 2003
    Messages:
    19,438
    I just read a review of "Les Troyens," and it was probably Eric Cutler's Iopas with which I was impressed, not Giordani's Aeneas. I knew the music was familiar, but I didn't realize it was Iopas', since I don't know the opera very well.
  24. IoanaC

    IoanaC Active Member

    Joined:
    Feb 17, 2010
    Messages:
    582
    Thank you for the interviews with Borodina! So no-nonsense, she's great!:lol:
  25. emason

    emason Well-Known Member

    Joined:
    Oct 12, 2004
    Messages:
    3,277
    Yes, Giordani is the one who received the boos on opening night when my friend went. I'm curious to see what happens tonight when I go.

    Also, re: Alagna and his acting talent, vocally he can certainly be hit or miss, but he is the only Don Jose I have ever seen who has been able to convince me that that character has a legitimate point of view and that the opera is not all Carmen all the time.
    Last edited: Dec 17, 2012
  26. kwanfan1818

    kwanfan1818 I

    Joined:
    May 24, 2003
    Messages:
    19,438
    That is a rare talent.

    This was linked on Opera-L and

    It's Neither April 1st nor Halloween
  27. kwanfan1818

    kwanfan1818 I

    Joined:
    May 24, 2003
    Messages:
    19,438
    Maofan7 and (deleted member) like this.
  28. BlueRidge

    BlueRidge AYS's snark-sponge

    Joined:
    May 24, 2002
    Messages:
    42,189
    SaSherka, were you at Les Troyens today? Thought I saw you when they were panning the audience before it started.
  29. SaSherka

    SaSherka New Member

    Joined:
    Mar 15, 2003
    Messages:
    4,830
    Haha decided to pop into the thread and I am mentioned! Sixth sense! Yes, I was in house and L-O-V-E-D all 5+ hours of Les Troyens (with a particular mention of Act 4 meltingly gorgeous love scenes)

    Also saw Maria Stuarda the night before with lady JDD <3
  30. IoanaC

    IoanaC Active Member

    Joined:
    Feb 17, 2010
    Messages:
    582
    I saw Les Troyens in HD and I too loved every minute of it. Susan Graham and Bryan Hymel were spectacular.

    Can't wait for Maria Stuarda next week!
  31. BlueRidge

    BlueRidge AYS's snark-sponge

    Joined:
    May 24, 2002
    Messages:
    42,189
    Wheee, I wasn't really paying attention and then I said, hey wait a minute, I know that person! :lol:

    I loved Les Troyens! I'm so envious you got to see it in person. :rollin:

    I hadn't been paying attention so didn't know that Giordani had dropped out. I was thrilled with Bryan Hymel! Wow. And loved, loved, loved Susan Graham.
  32. IoanaC

    IoanaC Active Member

    Joined:
    Feb 17, 2010
    Messages:
    582
  33. SaSherka

    SaSherka New Member

    Joined:
    Mar 15, 2003
    Messages:
    4,830
    MetHD Les Troyens interview :swoon: x3

    I wasn't excited about Les Troyens until the announcement that Giordani dropped out :lol: I knew Bryan Hymel would be fab (and he was, Sat as well as on his debut night 12/26 which was broadcast!)

    As for Maria Stuarda, JDD was fantastic, but honestly, I wasn't crazy about the production (I also didn't have time to have dinner beforehand and was lacking sleep...). Just felt too static from up in the Family Circle / Balcony. I have a feeling it'll come off much better in HD as most of the acting was in minute details. I also loved the Met/Sirius broadcast - the power of this opera is in the music, imho, not in the staged grandeur as in Les Troyens.

    Btw, just noticed that Angela Meade is singing in tomorrow's Il Trovatore broadcast, replacing Patricia Racette.

    IoanaC, thanks for sharing Bonitatibus' Dido!!!
  34. kwanfan1818

    kwanfan1818 I

    Joined:
    May 24, 2003
    Messages:
    19,438
    That's great news about Angela Meade.

    How did Elza van den Heever sound?
    Last edited: Jan 11, 2013
  35. dinakt

    dinakt Well-Known Member

    Joined:
    Feb 20, 2008
    Messages:
    3,739
    Scotto said the same thing.
    It is amazing to listen to Pavarotti. But I definitely see the point of Leading Ladies who want their leading man to care about them for 3 hours:)
    And a friend sent me a link to "Wozzeck on Ice" a while ago. I am still laughing. Reminds me of a "Simpson"s episode when they did "Streetcar Named Desire The Musical" . Just too good.
  36. BlueRidge

    BlueRidge AYS's snark-sponge

    Joined:
    May 24, 2002
    Messages:
    42,189
    OH! Cool!
  37. kwanfan1818

    kwanfan1818 I

    Joined:
    May 24, 2003
    Messages:
    19,438
    I've heard a lot of people over the years wish that Pavarotti's voice had been attached to a musician (and as long as they were wishing for the impossible, who looked like Franco Corelli).
  38. BYTCH

    BYTCH Celebrating Prancer's Specialness

    Joined:
    Apr 25, 2001
    Messages:
    2,508
    I have few regrets in life, but two of them are I regret that I never heard Pavarotti live, and I regret never seeing Pasha skate live.
  39. kwanfan1818

    kwanfan1818 I

    Joined:
    May 24, 2003
    Messages:
    19,438
    For me, the best live Pavarotti was in his first few New York recitals in the early-mid '70's. He sang every song like a jewel, like it was the first and last time he would sing it and like he had all the time in the world. He sang the Rossini "La Danza" and in at least one, ended part of the program with "Ingemisco" from the Verdi "Requiem," but he saved the opera mostly for his encores. Then he switched accompanists -- I think Martin Katz may have been his earlier one -- and there was talk of the first round of vocal problems, too -- and he was never the same. It was as if he were rushing through the songs.

    He was a delight in "Daughter of the Regiment;" it suited him temperamentally and he was almost spry. In the other operas I had heard him in, it was nice to hear his voice, but they weren't the best or favorite performances of them that I'd heard.
  40. emason

    emason Well-Known Member

    Joined:
    Oct 12, 2004
    Messages:
    3,277
    SaSherka: It sounds like you've been having a great time coming to NY for the opera. It was nice to meet you at the JDD recital; apologies for not mentioning it sooner. Maybe we will bump into each other at some future event.

    Meanwhile, I got a new brochure from Carnegie Hall yesterday. On Sunday, Feb. 24, at 2pm is a concertized staging of Handel's Radamisto with, among others, David Daniels, Luca Pisaroni and Patricia Bardon. Attn: Marge_Simpson, if you are still interested in Baroque opera, then get a ticket for this. I found a decent one in the Dress Circle and there are still seats available.

    I also picked up a ticket for Isabel Leonard's Tues., April 9, vocal recital in Zankel Hall.