Headshot of La Cieca

Cher Public

  • Milady DeWinter: Oh my, Amnerees – you did have a rather close and unpleasant encounter with Mr.... 6:58 AM
  • manou: Interesting choice of photograph for Werther. 6:00 AM
  • NPW-Paris: Goodness me, a photo! http://www.ginoqui lico.com/webstore/ Opera%20Internatio nal.JPG 5:51 AM
  • NPW-Paris: It was the first thing I ever saw at the Aix Festival, come to think of it. And Orfeo was…... 5:50 AM
  • NPW-Paris: Fabio Biondi said (again) in a recent interview (published in Spanish): “I would like to see... 5:13 AM
  • NPW-Paris: Nobody has mentioned Poppea. Does that mean I’ve come across some people who, like me, think... 4:10 AM
  • Buster: I loved Regula Mühlemann’s Papagana in the Simon McBurney Flute, but ervyone in that was... 1:28 AM
  • Betsy_Ann_Bobolink: Ja’nai Bridges is quite a stalwart comprimaria in Chicago through the Ryan Slave... 1:04 AM
  • Krunoslav: Even the diehard Body Nazis among us, one would think, might not care whether a *Rigoletto*R... 11:48 PM
  • Porgy Amor: As for Mr. Green (or – seriously – is he called Mr. Green or Mr. Speedo Green?) He would be... 11:03 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?]