Headshot of La Cieca

Cher Public

  • m. croche: Stolthet och Foerdom (2011) httpv://www.youtub e.com/watch?v=MsgN DGkFGaI httpv://www.you... 3:10 PM
  • zinka: We have a HUGE number of wonderful essentially LYRIC tenors today….Rarel y do they sing dramatic... 2:50 PM
  • zinka: Siepi,Treigle,Hine s,Pape,etc…. what is he doing in all the big roles?????? 2:48 PM
  • Feldmarschallin: She managed to bring something special to every role which she sang. I miss her as well and... 2:48 PM
  • moritz: Yes, that’s how I remember her as well: An amazing dynamic range, the ability to turn a forte... 2:38 PM
  • Milady DeWinter: Ah! That’s true FeldM – I had forgotten; of course, she gave up that “exit... 2:36 PM
  • Feldmarschallin: In March usually. Feuriger Engel Maskenball Benedikt von Peter, Harteros, Beczala,... 2:20 PM
  • moritz: I’ve heard Zampieri quite frequently from 1980 on, mostly in Vienna and Zurich, but also at the... 2:15 PM
  • aulus agerius: Too bad there doesn’t seem to be a cabaletta for Pavarotti’s aria. 2:09 PM
  • Satisfied: I guess its that time of year for season announcements. Feld, when does Munich generally release... 2:06 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?]