Headshot of La Cieca

Cher Public

  • Cicciabella: She’s volunteering to join the negotiating committee as a soloist. How does this make her... 3:43 PM
  • Edward George: But Armer, according to Krunoslav, Pieczonka is North-American-Can adian, not Commonwealth-C... 2:27 PM
  • Byrnham Woode: 20 years of negotiating teams for Actors’ Equity as a rank and file representative of... 2:10 PM
  • armerjacquino: I’ve discussed this with people away from here, and I do find myself wondering what she... 1:58 PM
  • Dabrowski: Is there a list of other stars who have weighed in on this, one way or the other? If you read the... 1:49 PM
  • Dabrowski: I have mentioned this before, but you can look up the LM-2 disclosure forms of any union in the... 1:42 PM
  • Quanto Painy Fakor: Sidebar: During the rehearsal there was a sudden noise from the audience left side of the... 1:42 PM
  • oedipe: France musique will broadcast live from Montpellier, in about 30min. (at 2:00pm NY time),... 1:31 PM
  • Fidelia: Interesting indeed. I think you’ll enjoy that evening in Orange! The rest of us are looking... 1:30 PM
  • stignanispawn: The Crested Butte Rigoletto was terrific. Hope that it was reviewed. 1:07 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?]