Monthly Archives: January 2014

Asking the Right Questions

Politicians manipulate the facts to suit their political needs. It is the job of the press to sort competing claims to the truth and thus inform the public. Alas, they do a lousy job. This poor performance, bias aside, is largely due to their inability to ask the right questions and their poor analytical skills….

Read the full entry

Recording of the Week – Ivan Moravec, Chopin Nocturnes

Chopin’s Nocturnes, though based on a form originated by John Field (1782-1837), are unique to the Polish genius. Their combination of technical intricacy and melodic invention make them a landmark in music. Chopin has transplanted the beauty and line of the Bellini bel canto aria to the piano – a percussion instrument! This magical transformation…

Read the full entry

Eugene Onegin in HD Plus a Bit on Language

Tchaikovsky’s most popular and best opera, Eugene Onegin (Евгений Онегин), opened this season at the Met. It was telecast on Oct 5, 2013. But I didn’t get around to it until today. This new production had a troubled delivery. Deborah Warner was in charge of it, but had to pull out a month before opening night…

Read the full entry

Placido Domingo 72 Today

Today is the great artist’s 72nd birthday. His career has been unique. The best way to observe his anniversary is to let him do it himself. Listen to this remarkable recording of the great aria from Meyerbeer’s L’Africaine  made in performance in San Francisco 42 years ago. At this time he was already 15 years into…

Read the full entry

The Real Problem With Healthcare

I have nothing to add to the discussion about the merits of the ACA otherwise known as Obamacare. Everyone who wants information about it has had more than enough offered to him. It’s not the real problem with our medical system. The kernel of our dilemma is us. We are the problem and congress can’t…

Read the full entry

Tutto Verdi: Luisa Miller

First performed in Naples in 1849, Luisa Miller marks Verdi’s transition from unpolished genius to mature master. This transition is fully realized in the opera’s third and final act. Here Verdi’s powers of dramatic intensity and expression are as moving and fully developed as anything he subsequently wrote. Salvatore Cammarano based his libretto for this…

Read the full entry