Headshot of La Cieca

Cher Public

  • ML: It’s actually Médée, en français, and it’s high on my list of never-seens too. 2:33 AM
  • Walther von Holzhaufen: Lady Abbado, in my opinion, steveac10 and Krunoslav are right on the money. I would... 2:00 AM
  • guy pacifica: Not sure where this will land, but I have a question for the Parterriani. Today I made final... 1:31 AM
  • Camille: Thank you so much, phoenix. It meant a treat deal to me to hear the sounds of home I hope the Met... 1:20 AM
  • schweigundtanze: I’ve heard much worse Violettas than the Jaho excerpts posted here (which is not to... 12:44 AM
  • DonCarloFanatic: Thanks. I enjoyed hearing it. 11:19 PM
  • ML: As you said weeks ago, in effect, they got greedy. Still, I’m surprised they didn’t put... 11:15 PM
  • ML: Anything Goes doesn’t go at an opera company. 11:10 PM
  • ML: Butterfly is a symphony: lousy conductor (i.e. nearly always) = lousy Butterfly. It is no coincidence... 11:00 PM
  • ianw2: Heavily discounted in Sydney, and that’s after the in-built walk-up benefit of the Opera House... 10:39 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?]