Headshot of La Cieca

Cher Public

  • Bill: Jungfer – I first met Gabor Bretz when he was doing Kothner in Meistersinger in Budapest –... 5:21 PM
  • Lohengrin: They promise, it will be available soon; enjoy! 5:17 PM
  • Camille: Westbroek does have that unfortunate vibrato, even live, and even as far back as 2010 as Sieglinde... 5:15 PM
  • Camille: Gery kucky = very lucky!!! So sorry amd wo xcited to hear my BELOVED Andrea Chenier. Now if he would... 5:09 PM
  • Camille: Oh my Lord, that Maestro Pappano is a magician!! He makes Andrea Chénier sound like a masterpiece.... 5:08 PM
  • Jungfer Marianne Leitmetzerin: Cami – I’ve had my “Kékszakállú” score for more than 40 years. It is a first... 4:54 PM
  • Lohengrin: Meanwhile she has an unpleasant vibrato, but in the high eruptions there is power. 4:36 PM
  • Olivero is my Drug of Choice: Un Di al azzuro spazzo. Someone posted a cell phone video. httpv://youtu.b... 4:34 PM
  • armerjacquino: Westbroek’s not a radio singer at all. It’s not a beautiful voice- it’s her... 4:31 PM
  • Camille: Hahaha! Ciccionabellissima ! Sometimes it’s “Vil Bastardo!!!!—Figli o di ——... 4:30 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?]