To go from the sublimity of Régine Crespin’s book to the reality of so much else written about opera:
There is a particularly nasty cabal of NY opera editors, writers and critics who do not believe that anyone outside of their clique should be allowed to write about opera. They want to take over the field (and we might as well kiss the field good-bye if they attain their goal[sssssss].) Their specialty is defamation of anyone who isn’t one of them. They do great harm to the field even as they advance their individual careers.
And now it seems as though they have an ally in the red hot citadel of the Manhattan opera world.
More on this story as it unfolds. . .