Headshot of La Cieca

Cher Public

  • Dabrowski: It is definitely more disturbing than the worst of Calixto Bieito’s excesses. 2:20 PM
  • kashania: AJ: Yes, I simplified things too much in my post. You’re quite right about the quality of the... 1:55 PM
  • umangialaio: Eva-Maria Westbroek will not be singing Isolde next summer in Bayreuth. U 1:54 PM
  • kashania: I prefer the revised as well but I enjoyed hearing the original version. I don’t know if... 1:46 PM
  • SilvestriWoman: I was at the 12/9 performance and felt much the same as Henson. It was truly a singer-driven... 1:28 PM
  • m. croche: Comparatively traditional operettic fare – “Ich studiert Anatomie” –... 1:11 PM
  • m. croche: Considerate of them to allow us to take mental-health breaks between clips. 1:09 PM
  • Milady DeWinter: I agree Avanti- I don’t hear the Deutekom “gargle̶ 1; in the coloratura at... 1:07 PM
  • Porgy Amor: Well, he was consistent. Almost every time he revised an existing movement, the revision was... 12:37 PM
  • Poison Ivy: Yes, the unexpectedly fussy vocal lines in the 1853 version are really jarring to the ear when... 12:20 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?]