We're quite spoilt in London when it comes to the piano. His recitals in London have been pretty poor, especially in contrast to the great recent recitals from Zimerman(RFH), Pollini(Barbican), Barenboim(RFH), Lewis(Wigmore), Uchida. I can't say I agree that the talent is in interpretation - yet anyway. Suggests that Lang Lang has a genuine interpretive talent? I'm pretty sure he has some kind of talent (getting some kind of nod from the likes of Barenboim and playing with Argerich).

Had to read this sentence of yours a few times: 'There are artists whose gimmicky presentation masks a genuine interpretive talent (I'm thinking of the likes of Lang Lang and Fazil Say)'. Interestingly, she came 3rd(?) in the Chopin competition some years back - highly impressive achievement. The only CD I have of hers is the recent improvisations one (on the whole interesting, but the Handel really makes me cringe).

Secondly, that's an interesting review on Montero - who I've never had the chance to see live. So, Beckham/Lampard etc at the ROH? (hard to picture). subtly asking my neighbour who he was: it was the star player at the NY Mets. during the interval, I saw members of the audience (and orchestra!) ask for signatures from this guy just in front of me.

I haven't looked into seat counts, but physically, it seems a much larger house - any idea on the sound quality in the $15 seats? 3) possibly more sponsors taking the top price seats at the MET, 4) More higher earners in NY are drawn to opera (thanks to MET management initiatives?) - last year, I saw Alagna's Radames. At the Met, here are my thoughts on why $15 seats remain empty: 1) there are more of them than the equivalent at the ROH, 2) they really are poor seats. if I want to go bad enough, there are bound to be some top-price seats available/returned (ie. I no longer worry too much if I don't get tickets at Covent Garden. Firstly, I've also noticed this strange ticketing issue.

Where to sit at the metropolitan opera