Cher Public

Give until it hurts

Sadly reduced to penury by music fans illegally downloading his music, the once-mighty Placido Domingo has resorted to whoring himself out to a recording industry organization whose noble purpose is to assure that sleazy A&R people continue to afford top-quality cocaine and hookers hard-working artists will receive just compensation for their work. Well, the legendary tenor has to keep busy after all, and apparently in the middle of worldwide recesssion nobody seems to think it’s a good idea to give him another opera company to run into the ground. [Bloomberg]

  • armerjacquino

    Well, it’s easy to point at the record execs and the Domingos of this world and say ‘they don’t need the money’ but for those of us at the sharp end, illegal downloading is a huge huge problem.

    Admittedly I work in telly rather than the music industry, but it’s terrifying the effect that torrenting (and the accompanying collapse of DVD sales) has had on budgets in that industry. And, purely personally, the DVD royalties that used to make up a useful amount of my income have more or less completely dried up. ‘Stick it to the man’ is a decent enough credo, but a lot of piracy is sticking it to the little man, too.

    • Nice to see you back, AJ.

      • armerjacquino

        Thank you!

  • Nerva Nelli

    Welcome back to the list(s), Armer!

    Scandalous things have been said against Sheila Rex and John Carol Case in your absence.

    • armerjacquino

      Oh dear, what a shame.

      *zenlike calm*

      • Regina delle fate


    • Regina delle fate

      Stravinsky chose Sheila Rex to sing Mother Goose in his recording of Rake’s Progress. Just saying….

      • ianw2

        Its a little know fact that Igor was in fact a founding member of the Commonwealth Cabal, dedicated to keeping good solid American singers off the stage in favour of their old school chums.

  • This group must might possibly get my sympathy if they had not let it slip toward the end of the article cited that one of their primary goals is increasing the copyright on recorded music to 70 years from the current 50. This is not about protecting artists, but rather about extending control indefinitely. (In 2025, just watch, suddenly there will be another “crisis” of piracy that will require the extension of copyright from a measy 70 years to a fair and just 100 or, just to be on the safe said, 150. After all, think of those Caruso recordings that could be generating income for their rightful owners, executives at Sony BMG born half a century after Caruso died.) If EMI have not already thoroughly cashed in on the Callas/DeSabata Tosca by now, they need to find some other line of work. Callas and DeSabata, meanwhile (not to mention DiStefano and Gobbi) saw their last penny from that recording decades ago.

    Given the choice between illegally downloading free media of questionable quality and legally purchasing guaranteed-quality media at an affordable price, most people — I would say almost all people — are going to opt for the latter. The issue now is that recording distribution companies are still behind times technologically and, frankly, both greedy and spendthrift: they think those lavish days of the early CD era should be the eternal norm. All the posturing on behalf of the poor starving artists is hypocritical when you stop to consider how little of the cost of a CD or a DVD currently goes to the artist.

    Fair prices with fair payments to artists would essentially obliterate the pirating “menace,” but instead the industry prefers to criminalize their customers.

    • Virgilio Guardepassa

      There may be a slightly different, not entirely transparent angle to this. PD may have more than a vested interest in this discussion. I seem to remember hearing a few years back that he bought a piece of DG -- a large number of his albums shifted to that label all at once…

    • ianw2

      Minor point- its been life + 70 (end of calendar) in much of the world for some time. In the US its been for works since 1978.

      Or is it different for recordings?

      I admit I’m not a detached observer, as I get a HUGE WHOPPING check every year from royalties.

      (usually around $12)

      • ianw2

        Oh. I sure should’ve read the Bloomberg piece first.

        But I thought it was already life + 70 in the EU, so am unclear on the legislative purpose?

        • ianw2

          Jumping the gun all over the place.

          As someone who earns royalties as a composer, it is life + 70 for the EU. But its 50 years from production for performers.

          The EU is currently looking at making it 95 years from production, the idea being that session musicians who recorded in their 20s, are going to lose their ‘pension’ from royalties as they hit their 70s under the current law.

          • Yeah, because a whopping 2 or 3 percent of what a CD costs goes to artists’ royalties — after the record company is willing to admit that the product has gone into profit, i.e., never. And such a vast majority of artists who record in their 20s are negotiate participation deals from Megacorp Multimedia.

  • ardath_bey

    this has got to be the funniest Photoshop job on Parterre yet. Or maybe it’s a real, it wouldn’t surprise me. The best things in life are free, Mr. Domingo, you need to realize that since the internet no one pays for music anymore, or porn. Anyway, you should be collecting Social Security and Medicare before Obama does away with both, go enjoy your living legend status and retire already!

    He’s my friend on Facebook and all, and once bought lunch for me in the cafeteria just because I was waiting in line behind him so I should hope that his income remained high but SERIOUSLY, Plastico, there are more pressing issues affecting struggling performers today, like the ones dumped by the fascist NYCO board and management. Or struggling baritones who can’t get gigs because a certain well known tenor is singing roles meant for them.

    • luvtennis

      Before Obama does away with both?!?! I don’t think you should be worried about him. But this will increase the number of sites that the Heritage Foundation counts as being anti-Obama. Thanks.

      Anyway. . . .

      Speaking as a lawyer, I think that La Cieca is RIGHT!!!!! IN this day and age of instant publishing, near universal access to the internet, vast social networking sites, that the limited monopoly represented by copyright should be RESTRICTED in scope, not expanded. Artists are better positioned to benefit from their work than they have ever been before. Sure, many continue to enslave themselves to Agents, Publishers, et al, who suck them dry. But that is their fault. An artist looking for the big payday is entitled to whatever he or she can get, but by continuing to support these mega conglomerates (who by the way are destroying the world and our culture quite effectively -- I think that is even worse than good blow and complementary tail).

      Extending copyright protection is a boon for the conglomerates disguised as increased respect for artists. Typical disgusting corporate piggy ploy.

      • ardath_bey

        luvtennis please don’t embarrass yourself with this Heritage Foundation remark. Stick to opera. Anyone with half a brain realizes Republicans are characters out of horror movies. What’s infuriating is that so many liberals are still defending this creep in the White House. Get informed, please, this so-called budget debate in Washington is a political fraud, massive cuts in social programs must be inflicted on the American people, Obama and the GOP are in on the deal together.

    • Bluessweet

      AB’s contention that the ease of copying has basically changed the way music impresarios and musicians distribute and get recompense for their efforts is on the mark. Gary Trudeau, he of Doonsbury authorship, has a character (Jimmie Fudpucker?) who has been doing the web-casting gig for several years now.

      Well, there was music and musicians before the Gramophone, so I guess there will be some music created and, unless our society fails to distribute the wealth that we produce in some equitable manner, most people will find a way to produce art and put food on the table. The starving artist is/was,however, more than a fancy, overstated cliché.

      Unfortunately for PD, his industry has not been as successful as the schoolbook industry, which, by producing new additions every other year, have been able to resell what is basically the same old wine in new bottles. That is, I think, what PD is trying to do. If a pension contribution is needed, why not include that contributory amount in the original performance fee, an amount that should be invested for the future? (of course, if you are as successful as Rossini was in persuading the King of France to grant you a lifetime allowance, a pension may not be needed.)

      Sad to say, the rest of AB’s left wing rant is far beyond what most of us believe. There is absolutely no reason why PD MUST step aside for anyone younger. When he is no longer a viable producer, then, and only then will he find himself “stepped” aside in a way quite beyond his own ability to step in any direction at all. Younger singers or younger people in any walk of life have no more “right” to any role or position in society than older people. I say this as an enthusiastic supporter of young singers. I doubt if there are more than a handful of people in the world who have seen more young singers perform in the last five years then I. (At least none who were not actively engaged in their instruction.)

      • ardath_bey

        bluessweet either you think Domingo should retire or not, fact is, his plummeting income due to piracy should be of little importance in the larger scheme of challenges facing opera performers today. Piracy of art has always existed and always will,composers in the 19th century for example had to fight the bootlegging of their scores in clandestine productions all over Italy. That was way before the phonograph or the Internet.

        • Camille

          Well said, and something to be kept in mind.

          Mr. Bey, are you going to the Lucrezia Borgia, I wonder, in San Francisco?

          • ardath_bey

            I would love to, my favorite place in the world, San Fran, one of my favorite Donizetti scores, my favorite Fabiano and then Ms. Fleming, who I saw in Washington singing the role and had personally told me that she would be singing Lucrezia in SF at the MET Xmass party of 2009.

  • Camille

    I’ve seen guys in front of the Million Dollar Theatre in L.A., the spitting image of this photo.

  • Quanto Painy Fakor

    Then there is the issue of protected works (CD, Books, Magazines, Video, DVD, etc) that are being disseminated and in some cases k’racked (hacked to work without a legally purchased license) through file sharing and torrent sites at NO charge for the material being shared. That practice doubtless has diminished, if not destroyed, sales of a huge range of protected material and is a problem of international proportions. Many Parterrians know the joy of receiving and collecting the latest video of a production aired or recorded the previous evening via file sharing networks. In the case of sharing, the only entities making money are the file sharing sights for hosting the unauthorized items. When a publisher notifies the file sharing site of an infringement like that the site usually removes the material at once. Recording companies, publishers, and copyright collecting societies have notoriously stiffed artists and publishers of millions of dollars of uncollected and unshared mechanical royalties. For a better understanding of that situation see William Knoedelseder’s book entitled “Stiffed: A True Story of MCA, the Music Business, and the Mafia” (Harper Collins, 1993). In those cases, the situation is a little like the pot calling the kettle black.

    • bassoprofundo

      what, no irrelevant video to go along with your post?

      • Quanto Painy Fakor

        This is no joking matter.

  • Harry

    At the moment , ‘personal crocodile tears’ Domingo is also running around doing concerts with Kathleen Jenkins at the moment, as well.

    Now back to the main subject, Q.P.Y is on the money as to where and how the real exploitation went on, in the recording industry. One only has to look in the last few decades, by big comglomerates at the shallow -up or ‘merging’ of various smaller record labels… and the copyrights they held. Causing a situation where the transference of copyrights created a great blurring or lack of accountability can easily take place, In regard, to ‘who is to get on-going royalties’ from those acquired recordings. The burning question is :’Do those massive corporate interests keep a sharp accountant’s eye on previous contractual obligations, entered into by companies they later absorb? And if, an artist feels short changed… do they get met with an attitude of ‘go whistle’ for any copyright money, felt outstanding by legal departments of the ‘new label’? For heaven’s sake, as a example of so called artistic concern, and questioning perhaps ,where their ‘real heart’ is..take the giant Vivendi….what is it?
    Firstly it is a French sewerage company!.. Does that not speak volumes(!) Need one, say more?

    One great irk facing the consumer: not being unable to purchase (even legitimately) various long regarded performances -- flippantly deleted from the catalogues -and relevated to some record company’s vaults. In favor usually, of the latest top 10 ‘classical’ dross…the Charlotte Church’s, and the Jenkins’ etc.
    Beside consumers turning fickle for other reasons as well, they in turn, have found ‘ many wills and ways’ to get around this. The artists directly suffer as a result -- yet the greedy companies now want to fix a problem they caused, by asking for even greater copyright restrictions. As if, that will do any good!

    • Quanto Painy Fakor

      Thank you, I’m glad you agree, I vote for the more and longer copyright protection the better as long as it is enforced. Do companies adhere to old contractual obligations? That depends on many factors and it is not easy for artistds or their representatives to invoke such concerns once the products have been reissued in various ways and formats. All to often, contracts are so much boilerplate and are completely ignored in ways that make Fasolt and Fafner look like angels.

    • Quanto Painy Fakor

      As for Jenkins, I wonder what licorice she sucks to keep her tongue so black in the closeups. (Best played with no sound)

  • MegaKay

    Living in the Antipodes as one does, my biggest beef with the current global copyright regime is that it isn’t global, it’s regional. So while consumers have adapted to technology and now shop, listen to music, watch movies, etc., etc. using that steam-driven interweb thingy we have content providers still insisting that the globe be artificially carved up into regions for the purposes of conforming with their out-dated business models. Do not get me started on why I cannot get a DVD of that cutting-edge movie “A Night at the Opera” by those A-list celebs the Marx Brothers because it isn’t available in my region code (thank God for multi-region DVD players) or why iTunes in Australia is still working on a model where the $AUS is worth only$US0.80 (instead of $US1.10). Add to this that our free-to-air TV stations are still happy to show US and UK series nearly a year after they are shown in their home countries and perhaps you can see why the internet is every thinking person’s friend in Australia!

    • Quanto Painy Fakor

      Why can’t you just play it on your computer? The whole this is here

      and you can download, convert and burn to any number of formats to watch on other devices and equipment.

      • MegaKay

        Indeed, mon cher mari has already done this. My point is that I don’t understand why a movie released in 1935 is still subject to the artificial boundaries created by regional copyright and regional coding -- what, exactly, is being protected?

      • phoenix

        Kay, it only resembles a 1935 film. It is actually a clip from the gown & tux intermission festivities at the Bayreuther Festspiele this summer.
        — Observe recent fotos of Katarina and you will realize that it is she (seated) listening yet again to Wim Wender (standing) kvetching.

  • Henry Holland

    I’ve wanted to buy the full score to Korngold’s Das Wunder der Heliane for at least a decade. The last time I inquired, they wanted $500 for it. So, I go to IMSLP:

    and they have the piano/vocal score. But….it’s blocked due to various issues (I think the copyright runs out in 2022).

    I have zero sympathy for record companies in this case. How many recordings have been re-issued 5 or 6 times, at full price, the excuse being a 2% increase in sound quality or some bogus new mastering process? Some of my favorite rock and pop albums have had to be remastered 3 or 4 times before they got it right, in some cases the “Definitive Remaster” being *worse* than any before it. Hey, who knew that using 4th generation safety copies of the tapes would affect sound quality?

    Robert Fripp of King Crimson has been writing about what he calls The Endless Grief for years. His management company siphoned off his royalties that they were supposed to be administering on his behalf to pay for losses in a British real estate crash. Meanwhile, his rights have passed through at least 4 multinational corporations and their shell companies.

    My favorite record company trick is they’ll sell his music online, even though they have no right to, only stopping when threatened by a lawsuit. Of course, they’ve collected the money before that and it “mysteriously” doesn’t show up on royalty statements. He’s still trying to collect on royalties from the 90’s.

    • Harry

      Henry Holland: Discussing the quality of re-mastering’ that record companies have ever used on re-issues: probably the worst example of all, was that period on vinyl discs with ‘electronic stereo’ tampering, with mono -- made recordings. Thankfully the studios then dropped the tactic and went back to straight mono, in still later editions. The famous 1956 EMI Bjorling/De Los Angeles -- La Boheme, is one classic example.

      On the artist royalties issue: I remember reading of one lawyer who tried to examine royalty accounts as a sort of economically shared ‘joint form of search effort’. On agreed behalf for a group of artists, that had recorded with one label . The lawyer was told yes, he may examine the books: but for only one a time. It is obvious the record company wished to forever stonewall, putting larger financial cost obstacles in the way.

      Another instance: one artist -- actually getting to their royalty accounts -- found creative accounting deductions made: like, for ‘considerable studio remastering costs’ (dated as being done -- 3 years previous)for an old album. Yet this allegedly new edition of it, had never ever seen the light of day.

      I suspect, if all music was only available from computer downloading and everybody did pay the full demanded dues of copyright, artists would probably be even ripped off, worse. Imagine an artist trying to ascertain / chase royalties, solely on and through all the intangible accounting corridors of the world wide Web!!!

  • Camille

    Listening to the recording of Lucrezia Borgia with Caballe in her Carnegie Hall debuts.

    Is there ANY ONE OUT THERE, that attended that night? Please report in on that WONDERFUL event, if you were there, PLEASE. It would make me so happy to hear of a first person account of that evening, oh so long ago — what 1965?

    Thankfully and hoping against hope there is one of you left, reading this.


    • Clita del Toro

      Camille, I was at Caballe’s debut in NY. Sorry to say, I was not as impressed as most of the audience: they went wild upon hearing her many ppppppppppppppppppppppppp’s. I never liked the way she seemed to distort the music to her own ends.
      Was not that impressed with her Norma either. I think that I only saw her in those two roles--not her biggest fan although she had a gorgeous voice.

      • MontyNostry

        … and let’s face it, Montse never had a proper trill.

        • Clita del Toro

          I can’t face that, Monty--gets me too upset! lol

      • Camille

        I understand your reservations, Clita, and thank you very much for weighing in. I always love to hear your viewpoint, as you were there at so many great singers’ performances.

        Actually, it is a strange technique she had, what with the plethora of pp’s and no trill at all. What I do like about that Lucrezia is her full-throated C’s, and various other acuti. Later on, we got very little else but the pp’s. I think that those pp’s have fostered a lot of copycats imitating or negotiating not at all so successfully, and to no good end for vocal health and/or longevity.

        Gracias, CdelToro!

        • Clita del Toro

          Camille, perhaps I should listen to the Lucrezia again. It would be fun to see if I now feel the same way about her performance as I did then.

          I keep trying to think of other Caballe perfrormances I have seen. Did she sing others with the American Opera Society or the Concert Opera Association (is that what it was called?)? I wish I could find a list of all the AOS’s performances, as I saw so many of them including the Callas Pirata.

          • Camille

            Clita del Toro,
            It is many times very interesting and revelatory of our own state of being at said performance,to hear it again, after a long pause and in a different state of mind/being. Of course, this will frequently be a recording that, even if “live”, will have been tidied up a bit nd sonically enhanced--that goes w/o saying….
            Sometimes one does not feel well, e.g., as I did at a performance of Falstaff, conducted by Maestro Giulini with the LA Philharmonic. I am surprised by it when I’ve occasionally heard a clip.

            As well, with time and experience, our opinions change.

            You were very fortunate to hear those performances with the AOS. I would suppose you heard the Beatrice di Tenda that introduced Sutherland to New York? Or, was the Suliotis Norma, also through their auspices. Much has been written about that performance and I barely know what to believe.

            At any rate, you may count yourself amongst the Beati, Clita del Toro!

          • Thanks to this exchange, I’ve pulled my recording of that Caballe Lucrezia off the shelf for a re-listen. I do recall that Vanzo’s aria is cut. Too bad.

  • Angelo Saccosta

    Dear Camille,
    While I was not there for the Lucrezia, I WAS in CH for the Stuarda with Verrett two years later. The moment Montserrat called Shirley a “vil bastarda,” I became the Donizetti freak I have remained lo these many years. The sound of Caballe’s A flat pianissimo, held forever and swelled open to B flat, is a sound I will take to my grave.
    All good wishes,

    • Camille

      Thanking you very kindly, Signor Angelo.

      I had entirely forgotten about that stupendous Stuarda. I can’t imagine how wonderful it must have been, with both of them at the height of their powers. I was witness to one such Caballe Carnegie concert, a scene of mass hysteria which was the stuff of legends.

      Thank you, as well, for povero Donizetti, who gets so much disrespect, unmerited. I look forward greatly to Lucrezia Borgia @ SFO in September!

      • ardath_bey

        cammille not povero anymore, his reputation’s never been higher. In fact by the time Roberto Devereux is produced at the MET, Donizetti will have ten of his operas done by the company, which is more than Mozart.

        • Krunoslav

          You must work in advertising or marketing!

          The Tudor trio has yet to be done, so that leaves us with seven, including LUCREZIA BORGIA done *once* in 1904 and LINDA’s eighth and last-to-date performance having been in 1935.

          So we are talking ELISIR, LUCIA, PASQUALE, FILLE and FAVORITA (last heard on tour at Wolf Trap with Bianca Berini in 1978).

          Also: how many operas did Donizetti write vs. how many operas did Mozart write? Plus, every one of the Mozart operas that the Met has performed has been heard there in the last five years.

          Other than that your stats are very striking.

          • ardath_bey

            krunoslav go back and read it again, I said *by the time Devereux is produced* which is 2 or 3 years from now. Still, 7 operas done at the MET is quite an accomplishment for any composer. It’ll be 10 operas in 3 years which is more than Mozart. Yes, Donizetti composed a lot of titles, but so did Handel. And you don’t see Handel’s operas produced as frequently.

            Anyway, Donizetti operas will be performed after you and I are long dead and buried, he doesn’t need my advertising or marketing.

          • Krunoslav

            Ardath, I understood very well the first time the rhetorical trick you were up to and therefore responded as I did.

            It is not inconceivable that MITRIDATE and LUCIO SILLA will enter the Met repertory, no? Anyway as it is a greater proportion of Mozart’s works have figured in the Met rep and certainly figure in the word rep currently than of Donizetti’s.

            Nothing against him- I love the Tudor works and BORGIA ( when someone other than Fleming is singing it) and PASQUALE in particular. I have even seen GIANNI DI PARIGI and ADELIA with pleasure!!!

    • ardath_bey

      Angelo as a bigger Donizetti freak than you I ask, did you hear the moment GENCER called Shirley a “vil bastarda’ in Florence that same year? The crowd went crazy and interrupted the performance with a tremendous and spontaneous ovation.

      I have Montserrat & Carreras in Paris but the Elisabetta was Menendez. Let’s hope DiDonato does justice to the role at the MET next season.

      • Gencer’s “Vil Bastarda” makes Caballe’s declamation sound fairly lame by comparison. Besides Caballe swallos the “b” and it comes out like “villastarda”. No, Gencer rules! What makes it so great is that she doesn’t just spit the line out angrily; she invests it with huge emotion and indignation.

        • La marquise de Merteuil

          Kashania -- have you heard the ‘vil bastarda’ of Caballe’s ‘Stuarda’ from Frankfurt -- it will give Gencer a run for her money with a vil bastarda for all times with a blazing Top D ripping that stretta a new a-hole. (The Elisabetta is She-who-must-not-be-named -- yeah you guessed it: B Fassbaender -- I hear she is the new Defence Against the Dark Arts teacher at Hogwarts.)

          • La Marquise — No, I’ve only heard the La Scala performance with Verrett. I’ve heard legends of a Caballe high D in a Stuarda performance. Off to go look for it on youtube…

          • Well, I couldn’t find the Frankfurt performance on youtube but I did find this Chicago performance where Caballe is more intense than the La Scala performance. No swallowing of the “b” in “bastarda” here. Don’t know the Elisabetta.

            And then, I was excited to disover actual video footage of Caballe and Berini in a 1979 Barcellona performance.

            This is fun!!

          • Camille

            Fassbaender as the Virgin Queen?? OmiGOTT! How fun would that be!! Thanks for the tip!

          • Ah, here’s the Frankfurt performance with the high D!

            Gencer still rules for the “vil bastarda” line but Caballe does sing the whole passage (beginning with “Figlia impura di Bolena”) with comparable passion.

          • La marquise de Merteuil

            Now kashania -- IMAGINE Callas in that role! One can only imagine!

          • Marquise — Indeed! Not to mention to the two Elisabettas.

            I had to run out for some errands, so I listened to around an hour and half of the Caballe Lucrezia Borgia on my ipod. My goodness, she is sensational in that performance! I can only imagine the sense of discovery that the audience in Carnegie Hall must have felt.

        • Camille

          Oh gosh, maybe I should order the Gencer Stuarda instead of or in addition to the Caballe one.

          Which Caballe version is best, according to you Donizetti lovers? I think there was a Parisian one I had put on a list…any suggestions?

          Merci bien.

          • phoenix

            Camille, I prefer the Opera d’Oro live recording with Alan Vanzo & Kostas Paskalis. I don’t remember hearing Caballe, Vanzo or Paskalis sing that well ever again. A big plus for this Carnegie Hall 1965 recording is the excellent sound. For a 1965 live performance vintage, this recording has super audio.

          • Phoenix: You’re talking Lucrezia, not Stuarda, right?

          • phoenix

            Oooops! My mistake, Kash. I thought Camille wanted Borgia, but thanks to your correction I now realize she was interested in Caballe’s Maria Stuarda.

            A dull role in comparison to Elisabetta, at least Caballe makes more of it than most anyone else I ever heard sing it. The choice of a recording should therefore rest on your preferred Elisabetta since Caballe is pretty much uniformly excellent on all of them.

            Again, I am most likely in the minority around here again. I prefer the Chicago Lyric live Stuarda recording because I enjoyed Viorica Cortez so very much as Elisabetta.

          • operalover9001

            Caballe/Verrett at La Scala.

          • Camille

            Thank you very kindly, phoenix for all the information, and yes, I did switch to Stuarda after first speaking of Lucrezia.
            I have the Sills Stuarda but only because of Farrell, so I wanted to finally get a Maria that I could listen to.
            Thank you all for your input as I appreciate.

            I apologize for once more going off thread; I am truly una traviata.

        • Camille

          EVVIVA LEYLA!
          The Pirate Queen of Donizettian High C’s!!

  • zinka

    GO HERE:


  • CwbyLA

    Does anybody know when the Met in HD tickets will go on sale to the Guild members?

  • zinka

    Placido..pobrecito….has decided to open up a vocal studio…His first pupil is La Cieca and here is the first lesson….

    Creo que La Cieca necesita un poco mas trabajo duro…o tal vez el no debe quit his day job.