Headshot of La Cieca

Cher Public

  • vilbastarda: Yes, I was there, and felt the same: completely entrapped from the very first note. She is an... 12:46 AM
  • Camille: Oh dear, now I am really sorry I didn’t attend. 11:17 PM
  • Camille: Yes sir, WELL worth your time. It may require some diligence in digging up a libretto which is, I... 11:13 PM
  • Belfagor: Yes, she held us from the very first notes of the ‘Mort d’Ophelie 217;. Interesting... 11:11 PM
  • Camille: I was not there but a fairly famous parterrian correspondent had intention of attending, and may be... 11:05 PM
  • liloloperaluv: Terrific composit photo! One of your best. I’m learning photo compositing. Hadn’t... 10:58 PM
  • Belfagor: I’m sure I wasn’t the only parterre contributor present at Anna Caterina Antonacci... 10:56 PM
  • Belfagor: A great cast – the orchestra is a little recessed and not so assured. Even though the sound... 10:46 PM
  • marshiemarkII: Carisssssimo stevey you are AMAZING!!!!!!!!!!! !!!!!! wow what encyclopedia you are! OK first... 10:37 PM
  • Krunoslav: Ah, that was the publicity given out, but perhaps then it was the only time IN THE UNITED STATES... 10:37 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?]