Cher Public

  • novotna: I am very disappointed that Mr. de Marco kept his vest on throughout the anvil chorus. It was very difficult to do an accurate... 9:22 PM
  • gustave of montreal: Marvelous evening that Cendrillon in Ottawa and what a cast: Ruth Welting, Maureen Forrester, Louis Quilico. In the... 8:47 PM
  • Bill: Kennedet – true, Cura’s voice is shot, almost an embarrassment to be sure, but he was still able to develop an... 8:46 PM
  • Milady DeWinter: “whooppee-cu shion shock-squack which we were regaled with at the prima of the ill-fared Anna Bolena,... 8:38 PM
  • LT: Interview httpv://www.youtub D-Z-1lc 7:35 PM
  • Quanto Painy Fakor: Boris was a gem! Your suggestion for the MET to rebroadcast his intermissions and those of Alberta Maisiello, Edward... 7:34 PM
  • willym: I recall when the Houston Tancredi was announced I was on the phone from Ottawa booking my seats the minute the box office opened... 7:05 PM
  • DellaCasaFan: I think I misplaced my post. It was in response to Camille’s inquiry about the biography about Alma Mahler. 6:28 PM

Feline AIDS continues unabated

“[J]udging singers in their 20s is truly difficult, especially with so much at stake for the finalists, including a $15,000 cash prize for each winner. Comparably gifted pianists in their 20s are much more likely to be technically assured and finished performers. Operatic voices, though, need long nurturing. Most young singers are still working out elements of their technique. Inevitably, the judges for these auditions are assessing the potential of the finalists as much as their actual performances. Moreover, as was made clear by the documentary film ‘The Audition,’ which followed the last round of the 2007 competition, performing in this concert could not be more high-pressure.” [Need You Ask?]