Headshot of La Cieca

Cher Public

  • Buster: Thanks – her intensity here reminded me of Frida Leider, love her. A lot of Symposium̵... 12:59 AM
  • Buster: Moi: the next Hamburg Fanciulla will be Barbara Haveman. 12:52 AM
  • Vergin Vezzosa: @parpignol – I find your comments about La Rad very interesting as I have had much the... 12:22 AM
  • Sempre liberal: I must admit, the Robert Greenberg Great Courses talks can help pass the time. The Verdi... 11:37 PM
  • Quanto Painy Fakor: She has the widest vibrato I have ever heard, making the likes of Calleja and Florez... 10:52 PM
  • danpatter: That’s a real find! Thanks for sharing this. I’d never heard her before. 8:18 PM
  • kashania: It’s true. I may have been optimistic there. 6:59 PM
  • mia apulia: like a forgotten bad dream from many years ago, suddenly recalled 5:46 PM
  • armerjacquino: Yep. One note does not a role make, but I can’t see Mattila relishing the idea of... 5:32 PM
  • moi: I can agree somewhere, that Mattila’s acting does not seem as intuitive as it was once… well... 5:31 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?]