Did Peter Gelb allow the reversal of the ban-on-reviewing because this occured to him as well?
Didn't Jan Peerce have the driest, least impressive top of any "legendary" tenor?
How come people who sit in the last three or four rows of the opera house balcony never seem to feel they should clap when everyone else is clapping? Do they think "Aaah, nobody's looking at me so I can't be bothered"?
And how did Opera Colorado convince their Board of Directors to approve such an obscure piece in this age of financial uncertainty?
Isn't it ironic that, while one can't really compare athletes of the past to today's sports stars because professional sports has changed so much, we can compare opera singers of a half-century ago to Fleming, Netrebko et al because opera is opera and performances are recorded for posterity?
Yet, at the same time, isn't the flaw in the observation above that merely comparing recorded performances fails to take into account acting skills, on-stage charisma and the fact that some voices benefit from the TLC of recording engineers masking weaknesses when heard live?
But even so, don't we still love to make the comparisons?
Are you, like me, waiting to see who the next great American baritone will be to continue the tradition of Tibbett, Warren, Merrill and Milnes for the great Verdian roles?