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Kathy & Kevin at the Palacio de Bellas Artes	Banner for the concert at the Palacio de Bellas Artes	At the Pyramid of the Sun - Teotihuacan
Hanging out in the lobby	Outside the Palacio	Rehearsal
Dinner	Dinner	Dinner
Park Tour	Lyndon at rehearsal	Concert Ready
Group at the Pyramid	Carlos, Tim & Joanne	Rehearsal

Thanks to Kathy & Kevin Ronstrom, Adam Cherson, Oscar Vallejo, Laura Butchy, Miriam Coleman and Joanne Wosahla for these great photos!  

If you want to see more pictures from the trip, the following folks have graciously agreed to share their personal photo album websites.  Click on a name to go to the site.
     Kathy & Kevin Ronstrom
     Adam Cherson
     Laura Butchy
     Joanne Wosahla (you shouldn't have to log in or register)

From El Universal, November 24, 2004:

"The Messiah” takes over the Palacio de Bellas Artes
“The Hallelujah” stirs the enthusiasm of the public during Handel’s piece
Juan Solís

     The calm was broken, but not the solemnity. In the stalls, galleries and theater boxes, there were those that imitated the members of the choir on stage. They rose from their seats as if launched by a spring.
     Hallelujah! Hallelujah! intoned the choir members from Carnegie Hall. Hallelujah! Hallelujah! sang the enchanted spectators, who listened to the piece while on their feet, and later responded with a great ovation.
     It was the most emotional moment of the concert which was performed by the Oratorio Society of New York on Tuesday night, under the direction of Maestro Lyndon Woodside in the Palacio de Bellas Artes.
     The musical evening was dedicated solely to “The Messiah” the masterpiece of George Frederic Handel. The choir from Carnegie Hall has made this piece into a tradition that marks the beginning of the Christmas festivities in the city of skyscrapers.
     This is a piece that is a eulogy and a prayer, an evocation and an oration. The piece pleaded for “Peace on earth for mankind,” from the center of the city at the same time that blood ran south of the same large city -- contradictions that Handel did not expect, but that reinforced the validity of his work.
     This choir has performed “The Messiah” for 130 years. It is the piece that identifies them in their country and all over the world. This is the piece they chose for their debut in Mexico City, even though their repertoire is much larger.
     Only 60 of the 200-member choir came to Mexico, accompanied by the soprano Jennifer Aylmer, the mezzo soprano Svetlana Serdar, the tenor Robert Dingman, and the baritone Woodrow Bynum, soloists who used their voices not with their full potential, perhaps because of the altitude.
     The same seemed to occur at times to the choir, but this had been expected by Woodside. Despite this, the varied vocal nuances were sufficient to give life to the genius of Handel, although there were a few but notable hesitations in the coordination of the ensemble.
     The public did not fill up the marble performance hall. The occasion called for a full house, especially if one took into consideration that the proceeds were destined to charity, in keeping with the original objective of the piece, which was written in 1742.
     From the podium, Woodside gave constant direction to the string section of the National Symphonic Orchestra so that the voices of the soloists could be highlighted without problems.
     Ultimately, the prestigious director of the orchestra pleased the worthy audience, who would not leave their seats, with number XXXVII of the piece, “The Hallelujah.”
-- translation by Chris Gonzalez Medina
(Thanks to DiAnn Pierce for arranging to have this review translated.)
Click here to see a scan of the review.  (It's a scan of a photo copy - quality is not great.)