Yes, yes, yes, and can't wait. PS, I think Gilbert's 4th is online for listening (though obviously the spatial effects may not register).

She is quite something. PS, here's a review of a similar recital Blythe did in San Francisco (October 2011) by my Seen and Heard colleague, Harvey Steiman: http://www.seenandheard-international.com/2011/10/16/stephanie-blythe-brings-big-personality-to-composers-from-barber-to-berlin-and-a-set-of-emily-dickinson-songs/

Thanks, Lisa. It was a fun piece to write - almost as fun as the concert itself. So glad you like him, and beyond his technical skills (which are formidable). He gets bashed now and then for being "all technique," "icy" - I'm sure you've read others - and I just don't agree. I see you're hearing him in Ravel and Gershwin - would love to find out what he has to say about both of those!

Thanks, Susan, and I'm sure you're not the only one who hems and haws about harpsichords. (PS, speaking with an early music expert last week, it is clear that one factor is the instruments; there are a lot of mediocre ones running around.) I'll look forward to seeing your letter. (In my book, getting one printed means the editors think you have something to say - not a surprise!)

Alas, the day of that interesting-looking recital, my power had *just* returned after the hurricane. So unfortunately concerts were the last thing on my mind that day. But yes, we'll convene soon, I'm sure.

Thanks much - and LeClair is an inspiration. PS, the Hungarian friend who joined me that night was *so* proud that Kurtág kicked off the season.

Was just listening to Fleming's CD last night with a friend who hadn't heard it. She has her detractors, but I'm not one of them, and this latest recording shows she continues to be in excellent voice and making intelligent repertoire choices. Glad you liked it, too.

Thanks, Bianca! And I couldn't agree more.

Martinů is not performed much in NYC. (Happy to be corrected if that impression is not accurate.) The Philharmonic has done a few pieces in the last few years, and some of his chamber music shows up now and then, but the operas are really off the radar. Maybe City Opera would do this one? My first encounter with his work was his Double Concerto for Two String Orchestras, Piano and Timpani (1938) - a masterpiece that knocked me out - and since then have discovered many other pieces by him. He was quite prolific!

Jeremy, thanks so much. Ralph changed so many of us, I almost "couldn't not write it." And enjoyed meeting you, too, and putting a face with the blog (which I've now bookmarked).

Thanks, that's exactly what I thought (and wrote to Paul Griffiths), although I'm pretty certain he admires both. I thought about posting a few paragraphs before the quote (for more context), but nyah...it's better in its mysterious glory all by itself.

Thank you so much, Susan. I've wanted to do a bit of work on the blog for some time; the original was looking a bit too "Internet 2004." (And TypePad has come out with some interesting new options.) Yes, quite a library, isn't it! (The owners chuckled, saying I'd found some things they had forgotten they had.) I especially like the sentence from "Glorious Knits," that sounds like it's in some alien variant of English.

Thanks, Susan - and thanks for that nice Nice quote. (Sorry, but how many chances does one get to write "nice Nice"?) I'm a big Prokofiev fan myself - most recently of some of the operas, which have been given intelligent productions at the Met. PS, the blog has been a little dormant lately; stay tuned for a bit more activity.

I wish you had been here, too! And if there's any justice, they will figure out a way of repeating the Boulez and the Stockhausen.

Thanks so much, Susan! Appreciate the kind words. (Have sent you a longer reply by regular e-mail.)

And I, in turn, thank *you* for the feedback, and for affirming one of the reasons I write about music in the first place. It's important to transmit the experience; ideally someone will write or walk up and say, "Man, wish I'd been able to make that one."

Yes! Hope we'll hear more of it, too. Perhaps Either/Or will consider giving a second hearing for some of what they unearthed. Especially liked "Eterno," for the 7 wooden planks.

I realize that miking on Broadway is probably here to stay, but still, I wasn't quite prepared for how tinny the sound was, even with the large ensemble. Too bad, since there were also some elements to enjoy in the production.

Thanks! Perhaps this project *will* lead to further work on the portions remaining (good suggestions, too). It's funny: I had not really thought much about the leads in the past. They seemed bland, pleasant, innocuous. (Or maybe I was just focusing on other things.) But this viewing changed my mind.

There is definitely a slight sadness running through the simple dog stories (and many of the others). I find it oddly endearing, i.e., "We know you're a strange, slightly dysfunctional pet, but we love you anyway."

*[chuckling]*