Cher Public

  • redbear: Operas next season in Lyon: L’Ange de feu, L’Enfant et les sortilèges, Ermine, en version concert, Une Nuit à Venise, Jeanne au... 2:22 AM
  • antikitschychick: Oh my goodness, I have a 30 pg. paper due tomorrow so I’m swamped atm and I’ve been trying to catch up with... 1:27 AM
  • PCally: Well I honestly can’t remember the singing all that much, it’s not really that kind of role. 11:17 PM
  • Krunoslav: Nope. We have bad/spoiled voices here too. Roz P started out with a rich sound and much promise but never got the top... 10:56 PM
  • Camille: I’m sold. Especially after looking at the programs to be featured this summer–all Puccini and other veristi, all the... 8:23 PM
  • FragendeFrau82: Thank you so much! Will listen to this on the drive to DC on Saturday. Nice photo too–includes the gray. New to me,... 8:07 PM
  • Camille: Bluebeard–I fear you may have hit the bullseye here, based on many of the already established actualities re Ms LH... 8:01 PM
  • Camille: Yes, and similarly, I had so looked forward to the double bill of Iolanta/Bluebeard& #8217;s Castle at the MET, and ended up not... 7:42 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?]