Cher Public

  • Signor Bruschino: Just finished the Antonia act & its fucking brilliant. Thank you La Cieca… Really a sin that NYC has not... 8:41 PM
  • La Cieca: I’m worried that Matthews is heading the same way as Emma Bell To ruin three seasons of Mozart revivals at the Met? 7:42 PM
  • Baltsamic Vinaigrette: Or indeed oedipe to… Oops. Better not mention oedipe. 6:05 PM
  • armerjacquino: Having watched the livestream of this ENTFUHRUNG I’m worried that Matthews is heading the same way as Emma Bell- a... 5:41 PM
  • laddie: The sound quality isn’t the greatest but this tenor is singing this role spectacularly! I have never heard of him before. 5:33 PM
  • Cicciabella: Good points, AJ. I’m not agreeing with him, but his reviews frequently make me laugh. He sighs and groans so much, I... 5:31 PM
  • armerjacquino: His main complaint seems to be that Konstanze and Belmonte weren’t played by two of the biggest stars currently... 5:08 PM
  • Bill: Goerke was quite good as Iphigenia (Taurus) at the City Opera quite a few years back – the voice is not a gorgeous voice but... 4:18 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?]