Picture me confused.
The stats report doesn’t lie: the top search engine entry that brought traffic to my blog is TA-DA… Wait, what? It can’t be. Are you sure?
the blog name.
Then I went down the eleven-page search report and the words keep reappearing with various degrees of misspelling.
And so on. I do notice when I check daily stats that there are searches on the blog name every day. So. Come out now: who among you, beloved readers, doesn’t know how to bookmark a URL? Who among you doesn’t know how to subscribe to a blog? I just want to make your life easier. Searching for the title of something you want to check every other day is not a very efficient use of your time. I know I have a long, burdensome name. But this way you keep rewriting it every time! Just bookmark it, and you’ll be flying. That way, my top google searches will actually relate to, oh, some of the blog content. You know?
But that aside: what I actually wanted to say was Thank you for reading, dear Opera and Mezzo Lovers. Here’s the plus and minus rumination on my experience with blogging so far:
+ I continue to spend more time on other people’s blogs and other people’s writing than mine. Can’t help it. They’re all much more interesting. And every day I discover a new opera blog I need to subscribe to. I’m trying to narrow down the number of blogs I comment on down to five.
– Despite that, I still end up doing most of the talking on my own blog. Please, bella gente: talk more than I. Make me shut up. This is not my space, it’s yours. Hijack topics. Reminisce unrelatedly. Rejoice or bitch. Just as long as you out-talk me.
+ There are expansion plans. I want to introduce original reporting in some form or other – I will likely start with some sort of Q&As or interview-profiles, but I’ll see what works best. I also want to introduce guest reviewers. For example,
+ Ferrando of @OperaTweets has promised he’ll try reviewing some of the Spanish productions.
– He still hasn’t done it (Ferr? Qué pasa, hombre?)
+ If you want to contribute writing or art work, email me. My contact information is two clicks away. Go to the Who she? page and you’ll find it. I can pay you in books and classical (non-vocal) music CDs.
+ Before this blog, I never published anything without editorial review, so this was like going it without the security net. I’ve learned that the readers and other bloggers effectively are your editor: take you to task, make you clarify your thoughts, make you trim (where there’s no traffic) or expand (where there’s more than usual).
+ Personality, I’ve learned — idiosyncrasies, partial views, the roughly shaped diamond of the baroque — are everything in social media writing. It’s an entirely new kind of writing muscle.
+ Oh and did I mention: thank you.
In other news…
Attention, Toronto musicians! Why did you all decide to book your early Spring concert on the same Saturday? WTF, people?
The baroque hotties I Furiosi (pictured above) perform Baroque to the Future. Julia Wedman (blonde in the picture) is still away on her Grand Tour, but the three remaining furies will be joined by Tafelmusik’s harpsichordist Charlotte Nediger. Aisslinn Nosky (red flame) is performing in her new capacity as the Concertmaster with the Handel and Haydn Society in Boston in less than a week. The official line is that her schedule with Tafelmusik will not change. Will she play less with I Furiosi this year? TBA. Tonight, I Furiosi are back to their Delisle digs, Calvin Presbyterian Church. 8pm, [$20]
The ever lovely Scaramella will play a program of the Swedish early music under the heading Fiddle Me This at UVic Chapel. 8pm. [$30-$20 students]
Katherine Hill – nyckelharpa & soprano, Ben Grossman – hurdy gurdy & percussion, Joëlle Morton – viola da gamba & double bass, Sara-Anne Churchill – harpsichord
Celebrating the parallels and relationships among three bowed instruments, the Swedish nyckelharpa, the hurdy gurdy and the viola da gamba, this Swedish programme is in part folk inspired, but also includes music associated with 17th century Queen Kristina.
Musicians in Ordinary perform a proudly Rococo! program of rarely heard works by Porro, Chabran, Merchi and (get this) Jean-Jacque Rousseau. 8pm, Heliconian Hall. [$25-15 students]
Canzonetta – Un jour sur la coudrette Pierre Porro (1750-1831)Ariette – Voyez dans les vergers Francesco AlbertiRomance – Au fond d’un bois Solitaire Giacomo Merchi (1730-aft.1789)Sonate in D Maj Pietro Nardini (1722-1793)La Plainte de Fabian – En vain j’adresse PorroPour Jeanette MerchiLa Serenade – Astre des nuits Porro/Intermission/Me promeant du Logis MerchiQuel tourment Jean Jacques Rousseau (1712–1778)Sonate in G Major Charles Chabran (fl 1752–1785)Le Quittance Mutuelle – Charmante Iris MerchiLe Saule du Malheureux – Charmant valon Porro
On top of that, The King’s Singers are performing at the RCM and Nexus Percussion Ensemble at Glenn Gould Studio.
I ask you.