What’s It Like To Be Second In Command At The Met?

“One of the most important people in opera you’ve never heard of,” Sarah Billinghurst “is responsible for strategic decisions about the company’s repertory, watching out for artists at competitions and rival houses and producing more than two dozen operas a season: finding directors, filling roles major and minor, coordinating rehearsals.”

What Eurovision Means To (And For) The World

“Framed as a sort of cross between the Olympics and a battle of the bands, part of what makes Eurovision so different is the way its entries play with ideas about national pride (and sometimes international shame). On top of the free-wheeling approach to performer nationality that can give Celine Dion to Switzerland, language requirements for the contest mean that a country can sing (and lose, miserably) in an entirely non-native language.”

Here’s Why Opera Matters?

“Opera is important because it is totally unfeasible. In its lack of deference to economic realities, it signifies that at least not all art can be commodified or rationalised. In scale and cost it is the most excessive of all art forms, and in the totality of its artistic claims, is the most ambitious.”