Cher Public

  • Krunoslav: This prompted me to look at my data base: I too saw Halfvarson early on, as Ochs in a Lott/von Stade/Schaefer ( US debut!),... 8:50 AM
  • Will: I prefer the rear orchestra, nicely raised above the crowd and relatively easy to get out of the theater at the end or during... 8:02 AM
  • gustave of montreal: Beautiful, thanks for posting this. 6:15 AM
  • Quanto Painy Fakor: Two singers and a twit httpv://www.youtub e.com/watch?v=fRQJ aKOkAus 2:35 AM
  • NPW-Paris: Surprisingly, in Paris, at the Châtelet, we had Nikolai Schukoff. Perhaps you’d have liked him. 1:56 AM
  • Greg.Freed: Glad to hear Halfvarson’s still doing good work. I must have heard him do Ochs (in Houston) over 20 years ago. And... 1:45 AM
  • Salomanda: Also, having just heard Goerke in the HGO Siegfried, I’m excited that we’ll have moved back to Houston in time for... 1:13 AM
  • Salomanda: It was lovely, the Immolation Scene was the best of the evening. The whole thing was quite thrilling, although the orchestra... 1:11 AM

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?]