If that’s your reason for removing Opera Chic, you ought to remove Operavision as well. The comments there always are closed to posters.

A: Start their own blogs and make them whatever they think they should be

B: Accept this site for what it is (and it is hardly irrelevant as there have been news stories broken here before they hit the press)

C: They can choose not to participate in a blog they don’t understand or respect.

As for OperaChic, it’s a real opera blog, vast, global, well informed and researched, not a collection of local, sarcastic, irrelevant MET gossip tidbits.

Calling her blog respondents an echo chamber in a post regarding Renee Fleming, well the irony is just too much for me.

I am soooo there with you on Blyth.

I hated that he attained so much prominence at Gramophone. He was provincial in his tastes, had absolutely no ear for good voices (Some of his reviews were absolute howlers!!!)

I hated that he took space from Steane!

Further, the “W” magazine slant of the blog, while tending to be fun for little girls like myself, tends to pall after a while, plus the watermarking of the photos nonplusses, as well you know.

And finally, Opera chic and cake and cast and vision and -gasm, all of them combined can NEVER eclipse the glory and the greatness of Parterre!

(There I did not want to offend any delicate European sensibilities!).
PS I one saw on music’s English Gutterphone’s blog the website then fell into disrepute…..it started to contain viruses aand sever editing.

Get this: Once the pommy Gutterphone had a mention of Parterre and then referred to it as ‘outrageous’!

He should have been made proxy -PR man for English EMI. He always came across and read: like a typical pompous self righteous name -dropping dickhead. No wonder the Gramophone magazine became its own discredited laugh -track.The final nail in the coffin was some of their ‘expert piano critics’ giving ‘record of the month’ in an artist by the name of one ‘fraudulent- Joyce Hatto’. Comprised of either straight out pirates of ‘other artists’ records or / in in some cases done with a clever mix of multi -edited plagiarism of several artists work. And the Gramophone kept employing those sods! In some cases, checking back the same critics had given faint review praise to the same record under its correct titled artist. Mel Brooks …….where are you? A new script is waiting to be written.

Any opera release with a strong American cast contingent or U.S produced – had a biased handicap attached – even being reviewed by the
Gutterphone.