Invisible Soprano 2: Korean Boogaloo

Angela Gheorgiu is at it again! Anna and Krista tell you all about a recent incident in Seoul that remids them of the infamous Tosca encore involving Jonas back in 2016. Speaking of Jonas, Krista gives us a review of his new panty-melting album Puccini: Love Affairs.

Episode Transcript

Speaker 1 (00:00):
Yeah, okay, dopey vote, we are back in US, so
welcome to the Opera Trash Podcast. I am terrified because
Christa said she has a plan and wouldn't tell me
what it was. Actually I'm Anna, but no, the first

(00:24):
thing still applies. And I'm feral. Oh you too, I'm Krista,
but I am and I'm feral. Now that makes two
of us.

Speaker 2 (00:43):
Yeah. So the reason I'm ferrel is one of this
is because one of one of the things that we
are going to talk about today, we have we have
been summoned by the opera gods because some read a

(01:04):
bish for film.

Speaker 3 (01:06):
Yes, because somebody, somebody has has you know, yeah, someone
out there has been an asshole and we must you know,
we like, like Kanna said, we must read a bish
for filth.

Speaker 2 (01:22):
So yeah, that's what we're gonna do. But first, but first,
but first, Christmas Ferrell. Yeah, here's my reason for being feral.

Speaker 1 (01:32):
Yonas freak. I was gonna say three guesses in the
first who don't count?

Speaker 2 (01:36):
Yeah. Yonas released a new album this past Friday called
Puccini Love Affairs and now, yes, he did do an
album of Puccini Arias before. Okay that that it's called
nesting Dorma. Yeah, he did do that. But but this

(01:58):
year is special because it is the one hndredth anniversary
of Uh Puccini Croaking Okay and uh Popcassie. Yeah, and
he so to commemorate, to Commemoratemori.

Speaker 1 (02:20):
Puccini Croaking, Yonison put out a whole album of songs
designed to make you horny. Yes, because it's not, because
what better way to celebrate the hundredth anniversary of the
death of someone who isn't Wagner than an album of
horny songs?

Speaker 2 (02:38):
Yes?

Speaker 1 (02:41):
No, in all seriousness, this is actually really cool And
it's basically just an album of the love songs, isn't it.

Speaker 2 (02:49):
Yeah, it's it's so it's different.

Speaker 1 (02:52):
It's different from his last Puccini album definitely, Yeah, because
he had because he had like the shooty songs.

Speaker 2 (02:59):
Yeah, he has for the songs. Had Nestu dorma on
the last one.

Speaker 1 (03:02):
Of course, which made me faral yeah, but not not
the same farreal that Chris. There are different levels of Farrell. Yeah,
there's Ferrell from Laughing Too Hard. There is Farrell from
brain Exploding, from Brain explodee from excitement, Yes, which I
actually had earlier this week when I heard Duran Durand's

(03:22):
new songs.

Speaker 2 (03:23):
Oh that's I heard that.

Speaker 1 (03:26):
Yeah, they released and for those of you who don't know,
they released an updated version of Newman on Monday, which
is my favorite Duran Duran song. It actually inspired the
only tattoo that I have is from seven in the
Rag Attager and has lyrics from the chorus of Newman
on Monday on it. They kind of slowed it down,
kind of made it a little bit creepier at the beginning.

Speaker 2 (03:47):
Yeah.

Speaker 1 (03:47):
But they also got Andy Taylor to play on it.
So it's the first recording with the five original members
since Astronaut came out in two thousand and four. So
first original line up, first original lineup for twenty years. Yeah,

(04:08):
and Andy Taylor still sounds badass. Yes, all right, I
understand the kind Kristen is experiencing two kinds of feral
right now, the O g OMG New Music Farrell and
the O g OG There Go my Pants Ferrell.

Speaker 2 (04:23):
Yes, absolutely so, uh so now this this album is.
In this album he duets with six different sopranos, and
he also does He also has re recorded two songs

(04:44):
that he did years ago. So first let's get to
the duets. So he did, he's he he uh, like
there are six duets, Well I would say not six,
dus he does six? He does? Uh, actually, like there's
it's there's six duets, but some of them, like when

(05:06):
they're listed on the album, they're broken down, so it's
like ten ten parts among six six sopranos. So it
kicks off with Fantula, which he which he dueted with
Pretty Yen Day. That was his first time working with her.

Speaker 1 (05:26):
Too nice, pretty, There's always a delight to listen to.
She can handle a lot. Oh yeah, oh yeah, and
he did. He did. There's a reason I say that people,
and you will find out shortly.

Speaker 2 (05:39):
Yes, he he did a duet. He did Tusca the
Act one duets with Sonya, who is an excellent Tosca
by the way.

Speaker 1 (05:49):
Oh yes again, can handle very much, pretty very much
anything vocally.

Speaker 2 (05:55):
Oh yeah. Uh, he did a he did the He
teamed with Milett with Melon Bistrom. If you remember, she
was she was his Elizabeth to his she was Elizabeth
to his Don Carlos in Vienna in twenty twenty, she
did uh fun Shula del West with him. Uh in
the f one Dick Johnson, Dick Johnson.

Speaker 1 (06:19):
The whitest name, Yeah, the whitest name that Portuiniti could
think of.

Speaker 2 (06:24):
Yeah, seriously, they have to You have to remember too,
like he wrote that because of his because of the
perceived stereotype of what the wild was.

Speaker 4 (06:35):
Was like, I know, but I just love that he
picked the absolute whitest name, euphimistic name that he could
think of.

Speaker 2 (06:46):
Oh yeah, and that Caruso and that Crusoe was mad
enough to do it.

Speaker 5 (06:53):
Caruso was like yeah, yeah, and so that he teamed
up with her.

Speaker 1 (07:01):
He teamed up with uh with aspect Gregorian.

Speaker 2 (07:05):
Remember she was his turand on uh he did, uh
the duet from il to Borrow. It's a little one.

Speaker 1 (07:15):
Huh. Have we've seen that one?

Speaker 2 (07:17):
Because that's not bringing a bell that Okay, that's the
one from that's the Iltritico one, okay, Johnny Skeeky and
sore Angelica Okay, yeah, the one, the one where it's
about the riverboat the bar.

Speaker 1 (07:38):
One Okay, yeah, no, now I remember, yeah, okay, and
I remember we have seen that one. Yeah.

Speaker 2 (07:45):
And because Patricia, because Patricia, she was all three yeah,
and then she that he teams with Maria Agresta for
three back to back arias, three back back duets from
Madama Butterfly, including Willya Tembene, which which is funny because

(08:11):
he does he he like he's doing this snippets the arias.
He's said he does not want to sing the entire
role of Pinkerton ever again, because Pinkerton's a dick.

Speaker 1 (08:24):
Pinkerton's poop head.

Speaker 6 (08:26):
Yeah, the least, uh so, but the last one that
and it's this is the reason I say I.

Speaker 2 (08:36):
Have one complaint. I say I have one complaint about
the entire album. This is my complaint. He does a
he does a duet from Puccini Ho Deluxe with his
version of Mentalist Go. He does Mono two with Princess
Circus Peanut and as good.

Speaker 1 (08:56):
As she was with the Farterer Virgin, the Massive version
of My Non this this was not good, which is
weird because usually she's pretty good at handling any type of.

Speaker 2 (09:15):
Yeah, like I mean she was good in like, she
was good at Ada. Yeah, like she can handle Aida
just fine, yeah.

Speaker 1 (09:26):
Vocally, but this apparently something wasn't right.

Speaker 2 (09:33):
It's just like if you listen to him, like if
you go on like he did.

Speaker 1 (09:38):
He did.

Speaker 2 (09:39):
This is like a re recording of what he did.
I think I think he did.

Speaker 1 (09:43):
Too.

Speaker 2 (09:44):
Tool Motive two with Christina Apelias on the Nestin Dorma album.
So if you go back and listen to that, yes,
it is from I think twenty fifteen, so it's like
nine years old. But but.

Speaker 1 (10:03):
You know you can hear.

Speaker 2 (10:04):
But it's the sopranos vocals. I don't know. It's just
like there's something about every Like if you listen to
the other sopranos on this album, they have gorgeous vocals. Okay,
there's their voices are beautiful. I don't know, there's just
something about her voice in this role that just doesn't fit.

Speaker 1 (10:27):
It didn't fit, which is like I said this because
she's not had trouble with Puccini before.

Speaker 2 (10:33):
She like she sung turn Dot and that's all I
can think of.

Speaker 1 (10:37):
Like she sung turned Out. You said, you know, you
said she sang Aida as well.

Speaker 2 (10:42):
That's a fairity.

Speaker 1 (10:43):
Oh that's verity.

Speaker 2 (10:45):
Yeah, Yeah, she did turn Dot.

Speaker 1 (10:47):
She was just fine and turned Dot. Yeah, but she
really actually solidly good, solidly good in Turn Dot.

Speaker 2 (10:55):
Yeah, but it's like.

Speaker 1 (10:58):
A plus no note, but this didn't sound right, which
is weird.

Speaker 2 (11:04):
Yeah, I don't I yeah.

Speaker 1 (11:07):
It's like, well, it's like and I mean every Puccini
offers got different pacing and whatnot. So I'm wondering if
it might be something to do with that.

Speaker 2 (11:16):
Yeah, well, or you know, she just I hate to.

Speaker 1 (11:19):
Say, maybe she just get maybe her voice is just
starting to show its age.

Speaker 2 (11:23):
Yeah, which which pisses me up. Which like, well, when
somebody says that about Yona's they're they're in the minority.
When somebody says, oh, Yonis's voice is aging badly, they
that's like that's a minority opinion.

Speaker 1 (11:38):
Or maybe like she was, maybe she wasn't well at
the time.

Speaker 2 (11:42):
I don't know.

Speaker 1 (11:43):
I think you know what I think though, Oh wait,
when was it recorded? Because I remember she was having
there were some vocal issues.

Speaker 2 (11:52):
I think that I think that this was recorded uh around,
because this was the of it. I'm trying to think
because they did, because they did.

Speaker 1 (12:05):
Like because I don't want to say that it's her
voice aging. Yeah, but I don't want to say that.
I'm trying to. I mean, you still have when somebody
is has done a particular composer's work before and done
it with ease and then you get this you have

(12:26):
it can't be discounted.

Speaker 2 (12:27):
Yeah, I'm trying to think a one that could have
been done, because it would have been done in the
past year. The only time they were together singing was
for Aida and it's the the orchestra is it's the
Teatra coming now the Bologna at the orchestra, the orchestra

(12:51):
and Ostra fish is the conductor. So wondering if they
flew to Bologna while they were doing Aida in.

Speaker 1 (13:03):
The and there was like a change of maybe like
a change of air. Yeah, because like there's all sorts
of things that can affect someone's singing voice.

Speaker 2 (13:11):
Yeah, because there because there's a big change between the
between Vienna and and uh Bologna.

Speaker 1 (13:18):
Yeah, so yeah, I mean, mayhaps it just like the
change of air or something was affecting her. But yeah, yeah,
because it's because it's very weird. As much as I
as we now unfortunately dislike her because you know, supporter, Yeah,
you can't deny that her voice is still really really strong. Yeah,

(13:42):
so it's like what happened there? My good ma'am.

Speaker 2 (13:47):
Yeah, it's just you know, I and I say too,
like like I was saying the other day to you,
and and I will point out that, like, not everybody
is suited for Wagner. Her she did the Leibistad from
Tristan on her on I think it was her last album.

(14:09):
She did that, and it just saunded horrible. I just
did not like her the way she sounded on that.
Like I said, not everybody is suited to Oh yeah,
it's it's very.

Speaker 1 (14:21):
Well known that not everybody student for Wagner. It's weird
though that that not everybody is apparently suited.

Speaker 2 (14:28):
For Puccini Genie.

Speaker 1 (14:30):
Yeah, especially when they've done Puccini before.

Speaker 2 (14:34):
Yeah, it's I don't know, Like well, Janice has said,
like his role uh in uh, like the role de
Griea sits. He says, it sits uncomfortably high. That's how
he described it. It's sits uncomfortably fonder if.

Speaker 1 (14:53):
I wonder if that's it. Puccini's registers are higher than
Massinas were.

Speaker 2 (14:58):
Oh yeah, because.

Speaker 1 (15:04):
I also wonder if he's been in Masinase del Ho
Deluxe Yonas.

Speaker 2 (15:11):
Yeah, he was in there back in two thousand and eight,
he said with Natalie to say okay, and he said
both of them were higher register no, he said, just Puccini.

Speaker 1 (15:21):
I bet that's the issue.

Speaker 2 (15:22):
Then, yeah, because it would.

Speaker 1 (15:28):
Well he because he debuted, he debuted.

Speaker 2 (15:31):
In in uh Pucciniho Deluxe in London, because that and
that's the reason he because I know the reason he
was mentioning that is because he was doing that conversation
with Tony Papato and they were talking about his his
role debut as Degria, and he said, the thing with

(15:53):
the thing with this role is it sits the register
sits uncomfortably high. And well for him it sounds it's
he sounds perfect in it, you know he does. It's
like he like it sounds effortless for him. But for
him to say it sounds it sits uncomfortably high, Uh

(16:16):
is yeah, So yeah, it might it might be that,
you know, it's it and Puccini has this thing where
not only are where not only he like he Yonis
tries to.

Speaker 1 (16:35):
Tries to kind of.

Speaker 2 (16:38):
Be uh conciliatory with uh with Puccini's uh composition. Uh
but he because he says, he says he does it
double or triple the the melody. He but he puts
it an octave above or below. It's still doubles or triples,

(16:59):
it's still double the vocal because there are some places
like I like I remember hearing Kjlina Bunnina that the
first time he recorded it, it's almost sounded like it
was drowning him out. I don't know if it was
the sound mixing or if it was the the orchestra,

(17:20):
because it does it did sound like it was. The
key was the way he was singing like it was
like he was trying to fight the orchestration. He was
trying to fight saying to the orchestra, Yeah, that's what.

Speaker 1 (17:37):
I would have a gig out there, like throwing hands
at everyone.

Speaker 2 (17:40):
Yeah, I can't let anybody in this orchestra.

Speaker 1 (17:47):
It's like, sir, sir, that doesn't have the same connotations
now that it does when you were younger. Please use
different phrasing. I can fight anybody in this damn orchestra. Yeah,
it's like an archer pops up hey freezing. Although Yonas's
authority would definitely be recognized in Port kick Ass.

Speaker 2 (18:08):
Oh yeah, so I mean, yeah, it did it sound
like he was trying to sing above the orchestra in
the first in the first recording, but uh, and like
this time it doesn't sound like that. It sounds like
the orchestra is a little softer so and it might be,

(18:30):
like I said, it might be the way that it was.
It was the sound mixing was back then. I don't know,
because that was his first album. He the he recorded
was the Ormanded m HM way back in two thousand
and eight, Way back in two thousand and eight. He
was a He was a he was a thirty nine

(18:54):
year old, thirty nine year old we baby back then.

Speaker 1 (19:00):
Yeah.

Speaker 2 (19:01):
But yeah, if there's anything if there's any anything bad
or any any complaints that I have about this entire
new album, it's it's that Aria. He should he could
have sung it with anyone else. I wish he would
have sung it with somebody else. It would have been
nice if he had had, if he had maybe brought

(19:22):
back Christina Opelias to sin get with her, because that's
who he because it had been ten years since they
had since uh he had debuted the role, and that's
who he That's who he co starred with, UH and
allegedly that's who got handsy with him on stage during

(19:44):
meno Let's go.

Speaker 1 (19:45):
Uh. But look, I would have as well.

Speaker 2 (19:53):
I I can't blame her. Yeah, but but uh yeah,
it it would have been nice to break her back,
but or or even have like one of the other
you know, switch with one of the other sopranos, you know,
something like that. But I think that, but I think,

(20:14):
you know, like other than that, he picked some really
good selections. He did. He pick excellent selections. And the
last two songs he's on the album eleven and twelve
are re recordings of Kjulita Manina from Lava Whim and
of course the Wreckord. He like, if you listened Kjulita

(20:37):
Manina and you compare it to the two thousand and
eight recording, like I said, it sounds like he's it
sounds like he's projecting, like he's singing, like there's not
a whole lot of softness in his voice. With the
first time there is. You could hear the maturity. It's
a it's a it's a deeper, more mature voice now

(21:02):
and the subtlety is in there as well. And it's
also with the wrecord. Mike go, oh my god, I'm
sitting there listening to that and I'm like, oh Jesus Christ,
like yeah, that like they like they thought I wasn't
wearing underwear. But I was listening to it because it

(21:23):
would have been just it would have disappeared.

Speaker 7 (21:26):
Man.

Speaker 2 (21:30):
I was lying in I was in bed. Listen to that.

Speaker 1 (21:33):
I mean, okay, fine, fair, ye fair, But like I'm
still man.

Speaker 2 (21:43):
Thinks that man can do to me with his voice,
doesn't even have to it doesn't even have to lay
a finger on me, and he can make me come
just oh lord, but that is but.

Speaker 1 (22:01):
And the food too.

Speaker 2 (22:03):
Yeah, oh anyway, I am but aham no. In summary
infinity out of ten a plus plus, go listen to it.

Speaker 1 (22:20):
I'm my pants again.

Speaker 2 (22:22):
Yes, the I'm getting my physical copy is not coming
until the twenties is not going to get here until
uh next Friday. Should should be here next Friday, and no, no,
not next Friday. Uh in two weeks. I'll be here
in two weeks and uh I think between I think

(22:47):
and I don't, but I don't think it is the
deluxe edition because the deluxe edition is offered on the
my go to uh yeah, my go to place to
get like the rarer stuff like.

Speaker 1 (23:07):
I go.

Speaker 2 (23:07):
It's presto classical, and they offer a deluxe edition that
has like the lyrics in four different languages. It has
an interview with Yona's in it and and three pictures.

Speaker 1 (23:22):
Three three pictures not your proudest rap, but yeah, there
you are.

Speaker 2 (23:27):
Yeah. So I'm gonna. I'm gonna see and for twenty dollars.
It's like, Hi, I'm gonna go. It's like, Hi, I
want Yeah, so I'm gonna order. So I'm gonna order that.
If it's if I have two versions, that's fine. I'll
keep one wrapped and the other one could be uh
and the other could be.

Speaker 1 (23:47):
Like ohlways keep it rapped. When listening to Yondas Kaufman.

Speaker 2 (23:50):
Yes, good God. But yeah, I'm gonna but seriously, guys,
go listen to It's on Spotify now. Seriously, it's amazing.
He's knocked it out of the park again.

Speaker 1 (24:05):
Uh it.

Speaker 2 (24:06):
Oh by the way, uh the uh the recording of
Parsifal that they did back in twenty twenty that was
released this year, uh, with him and Elina Garansha and
uh and you Live Actezier. It got nominated for a
Grammy for I think for a Gramophone Award and so

(24:31):
so cross your fingers too that it will be nominated
for a Grammy. I want to see it. I I
hope it gets nominated for a Grammy. That would mean
that would be great because as it is like one
of those like you hear you don't hear about, uh

(24:53):
ensemble like complete operas, like you heard about this one,
Like everybody's like really it's got like really high praise
that if you haven't if you haven't listened to that,
you haven't gotten that, go get it or go listen
to it. That was amazing. If you haven't seen it,
go to uh go to opera on video and go

(25:17):
find out because it's on there.

Speaker 1 (25:18):
Go watch it, damn it.

Speaker 2 (25:20):
Yeah, it's it's amazing. That's the one where that was
the directed by the guy who was on house arrest
in Russia. Oh with the side pen yeah cereal, yeah,
Carol so soothing and nice Carol saa Benakoff the guy.

(25:42):
You know it was set in the prison. Yeah, the
one that was set in the prison. Yeah that there was.

Speaker 1 (25:50):
That there were peen. There was peen that you didn't want.

Speaker 2 (25:54):
Yeah, it was it was unexpected peen in in in that.

Speaker 1 (26:00):
So you know watch like it's just like I want
a pein but not like this.

Speaker 2 (26:04):
Yeah like this wrong pin uh so yeah that so
there's that I gotta watch that. But seriously, I think
that I think Jonas has has knocked it out of
the bark again with us, and I think it's just
it's just amazing, like he just what do you think

(26:27):
he can't do? He can't like outdo himself. Every year,
like like every year it comes up with something different,
and this is it. Like this last year it was
it was movie songs. This year it's it's Puccini duets.
And god knows what he's gonna put out next year,
who knows, but.

Speaker 1 (26:49):
You can guarantee that Yodas Kaufman will put out Yeah.
If you can see the smug little troll grid on
my face right now.

Speaker 7 (27:00):
Oh yeah, oh my god, I knew it was coming
the minute the words left my mouth. Yeah yeah, thank
god he puts out too. But that yeah, So so

(27:24):
that's when that's our review of POC Love Affairs, And
I guarantee it.

Speaker 2 (27:30):
You'll love it. You will, You'll you'll have a love
affair with this album. Seriously. All right, so.

Speaker 1 (27:39):
Now that's the fun part.

Speaker 2 (27:41):
Yeah, they have the fun part.

Speaker 1 (27:44):
Yeah.

Speaker 2 (27:45):
Okay, so this is a good segue we talked about,
you know, this is a good segue into what we're
about to talk about. Okay, if you if you recall,
we have mentioned this before. We have mentioned this incident before.
In fact, we have a T shirt commemorating this incident.
Uh abiamo on soprano. Yeah, no, naiallo and soprano. We

(28:07):
so back in twenty if you're if you're not familiar,
if you don't, or you know, to refresh your memory.
Back in twenty sixteen, Jonas was in a production of
Tosca at the Weien and Uh with Angela grgu uh
if yeah, And I have mentioned her before. I don't

(28:27):
like her because she is.

Speaker 1 (28:30):
She is. A line from It's Always Sania in Philadelphia,
where Frank's looking at the painting of the dog and
he says to Charlie, I don't like it, Charlie, I
don't like this painting. It's at least I think he
says it, Charlie. Anyways, they need to be this character.
Frank says something in the suction of I don't like
this painting. It's smug Arara mocks me. Yes, that is

(28:52):
what I what pops into my head every time I
hear her name. She just radiates smug yes, like she
think she's Maria Kallis level level diva. Yeah, no, talent wise,
you've got it, You've got the voice. But look, even
Kathleen Battle is better behaved.

Speaker 2 (29:14):
And that's saying something for God's sake. So, Angela Georgue,
if you're not familiar, now I didn't I.

Speaker 1 (29:22):
Would say this, Kathleen Battle had the decency to keep
any misbehavior of hers off stage.

Speaker 2 (29:30):
Yes, yes, now, Angelic org if you remember, like I
we have commented on before before, I watched the production
of lot Boem with her and she and this is
the one where that was the one where.

Speaker 1 (29:46):
They had to range down.

Speaker 2 (29:48):
Yeah, they had to tune. They had to tune Cajulia
Manina down an octave for the tenor so he could
hit a B instead of a C. And at the
end of it, where Mimi is supposed to die in bed.

Speaker 1 (30:02):
Right, this dumb bitch stands up and walks around. It's like,
it's like a motherfucker.

Speaker 2 (30:14):
She has to like and she can't keep her arms down,
like when she sings, she can't keep her arms down.

Speaker 1 (30:20):
It's like, bitch, you are not Celean Beyond.

Speaker 2 (30:23):
Yeah, seriously, but so. In twenty sixteen, Jonas is co
starring with her in Tosca. Okay, now he's out there
singing the Wrecker in A three he has Yeah, so he.

Speaker 1 (30:42):
Has taken an encore.

Speaker 2 (30:44):
He's done this. Ever he's done this, Like, how many
times have I said? Yes, he's taken it OnCore. He
got praised for taking it on core everywhere else he goes,
he's praised for taking on core.

Speaker 1 (30:55):
He's asked to.

Speaker 2 (30:55):
Do it, and he does it, okay because it's at
this because it's at the discretion of the director, of
the conductor and the tenor. Right. He he takes the
encore and does it and nobody, nobody says a damn
word to him. Okay, and so on this particular evening,

(31:18):
now he has taken the encore every night so far
in that production. He's on this particular evening he takes
the encore and when he when the Q comes for
miss Than to come out, uh, you know, for Tosca
to come on stage.

Speaker 1 (31:37):
In the immortal words of Yugon Cornelius, nothing.

Speaker 2 (31:43):
Yeah, which prompted Yonah says. He he's sitting there waiting
for her. He sees that she's not coming out, and
then he goes, no, not beyond and yeah, and then
he has to get up and he walks to the
end of the edge of the stage. He says, sometimes
this happens, you know, the the person missuster c It's okay,

(32:07):
then you know, we'll start again. He says, that's a
German and to the audience he goes sits back down.

Speaker 1 (32:12):
They start thinking the audience is still giggling over no
not be all my own soprano to their credit. Oh yeah,
So then.

Speaker 2 (32:20):
She comes out. Okay. Now, at first, at first it
was said that she had that she was she was
she kind of it was kind of her protest that
she wanted. She didn't like it because it was extending
the opera too long for the patrons, for the audience,

(32:42):
because they might miss their plan, their trains or their taxis,
which is bullshit.

Speaker 1 (32:50):
Especially, and the reason why it's truly bullshit was why
not other than Yonics, who years later stopped having a
fuck to give. Yeah.

Speaker 2 (33:00):
So, in twenty twenty, if you remember that documentary he
put out, he's sitting there with Christiana and their friends
and he's talking about the incident and he said she
was pissed because he took the encore. He threw her

(33:21):
under the bus. He said she was pissed because he
took the encore, and we find out, and I found
out just the other day. She made him apologize for
taking the encore. She made him apologize to her for

(33:41):
doing that. It's like, excuse me, ma'am. You don't make
Yongness apologize to you. You apologize to Yonas for fucking
up the opera, for stopping the opera. He didn't stop
the opera. You did Jesus. So all that being said,

(34:08):
guess what, bitch did it again?

Speaker 1 (34:11):
Still let me first time there's there's actual tea coming
out about it.

Speaker 2 (34:16):
Oh yeah, there's there is no way three years and
throw her under the bus.

Speaker 1 (34:23):
There is immediate Excuse me, bitch, no, yeah, yeah, let
me from the opera, from the venue. It's the opera
venue itself.

Speaker 2 (34:36):
Oh yeah, it's beautiful. Hang on, let me, let's let
me get the uh.

Speaker 1 (34:43):
Like it just keep what just keep like? She released
her seatment and then the the the Si Jong Center
was like, we're gonna make you look. We're gonna tell
the truth and you are going to look infinitely fucking worse.
It was.

Speaker 2 (34:59):
It was the was beautiful collapback ever, Oh my god, Well,
like and like I said, like what they brought out
about everything was like just made her look worse. Oh yeah, yeah, okay,
so I actually have the article, the original article.

Speaker 1 (35:18):
Yeah. Uh.

Speaker 2 (35:19):
Angela Georgu booden soul after interrupting performance of Tosca, demanding.

Speaker 1 (35:25):
Respect, respect my borthole.

Speaker 2 (35:28):
Okay, So so this was put out on the ninth
and that would have been on the eighth. Does this happened?

Speaker 1 (35:36):
Yeah? This all, this all happened within the last seven days.

Speaker 2 (35:40):
Yeah, okay.

Speaker 1 (35:42):
So.

Speaker 2 (35:43):
Soprano Angela Gjorgue interrupted the third act of a performance
of Tosca on Sunday the eighth uh at the Sea
Jong Center for the Performing Arts in Seoul. Per a
report from the Korean Times, the soprano was upset that
Korean actor Alfred Kim was to give was asked to
give an encore luchev and La Stella. The soprano walked

(36:06):
on stage and did the utmost to stop conductor Ji
Jun Bay before eventually stating out loud, excuse me, it's
a performance, not it's not a recital.

Speaker 1 (36:19):
Respect me, no, insert that gift of bugs bunny, saying no, yeah.

Speaker 2 (36:27):
The opera continued. Thereafter, she did not come out at
curtain call, but when escorted on stage by bass baritone
Samuel Samuel Yun, she was met with booze from the
audience and ran off. Okay, uh, now this was at first. Okay,

(36:48):
we haven't heard. We haven't heard any further statements or
explanations about from her about this incident. We've officially filed
a complaint with her management company, and a formerly requested
an apology from Georgue. We are currently awaiting her response
and will determine our next steps based on her reply,
said an official from the Sea Jung Center for the

(37:09):
Performing Arts. Per the report, Georgy you pulled a similar
step back in twenty sixteen, delaying a performance of Tosca
when tender Yonas Kaufman took the spotlight with it on
core of his own per The Korean Times. At the
time of this innident, Kaufman was forced to apologize for
the incident. So then.

Speaker 1 (37:32):
On the eleventh, her management released a statement clarifying the incident.
And when I tell you, it does nothing to make
her look any better. Yeah, Can I read it? Yeah,
go ahead, I read it, because this is just so
beautifully awful. Oh yeah, like this honest to God, does
nothing to make her look any better.

Speaker 2 (37:53):
Oh no, no, says Angela.

Speaker 1 (37:55):
Georgie's management, Interbusica, has released a statement regarding the incident
at the Sijong Center for the Performing Arts in Seoul
on September twenty twenty four. In a statement, the management
team said Miss Georgiu deeply regrets the circumstances which led
to the incident at say Jeong Arts Center on Sunday.
First off, we all know that's bullshit. It was agreed

(38:16):
and confirmed with the conductor of the production team of
Tosca in advance that there would be no oncres made
by any of the performers. Again, bullshit, because you can't
decide that on behalf of the other performers. Yeah, mister
Georgia believes firmly that the encore is outside of a
concert performance setting disrupt the narrative floor of the opera.
You know what, I will be willing to concede that
point and that point alone. Yeah, and here's where it

(38:43):
makes her look way worse. Her management continued. Despite this agreement,
Surely before act to the conductor proposed an encore of
her Aria Vissi Darte, which was Georgia again declined in
order to maintain the integrity of the performance. Regrettably, this
decision was not honored in the case of the tenor's

(39:04):
Act three aria, which mister Georgie can perceived as a
person personal front. Given her strong convictions on this matter,
why is it a personal upfront when you got offered
one too, you can say no, that's perfectly okay. Mister
g Jie wishes to express a profound respect and love
for Korean audiences. Again, bullshit with whom she has cherished

(39:25):
a wonderful relationship for many years. We've been particularly concerned
with the extraordinary level of abuse she has been subjected
to online. These as conservated by incomplete media reports on
the incident. The complete media report, does it make her
look any better?

Speaker 2 (39:42):
Yeah?

Speaker 1 (39:46):
And then it just goes on to repeat what happened
and what the performance center said. But look like like
I said, I will concede the point that encoores do
dis up the narrative flow.

Speaker 2 (40:01):
Of the opera.

Speaker 1 (40:03):
That being said, if the audience wants you to repeat
what you just did, you did a damn good job.
Yeah yeah, disrupts the flow of the opera. But they're
paying you a big fucking compliment that they don't give everyone. Yeah,
audience is of any kind are picky as ship. Yeah,

(40:29):
and it's very unusual that a double encore is requested. Yeah.
The only time I ever seen that was remember in
Madrid if Soosky and Radvanovsky for ironically enough Pasca. Gee.

(40:52):
But yeah, that just that just makes you look so
fucking terrible that you come out and demand run out
and interrupt someone else's yeah encore and demand respect like
they didn't, like they didn't try to show you the
same respect. Yeah. The audience doesn't know what your agreement is.

(41:17):
They have no fucking idea what goes on beyond behind
the scenes. So to that, no, so, no wonder the
Korean audience is like like revolting against her online. They
don't know what her what her opinion is all that

(41:41):
they don't, I mean to be honesty. Even if they did,
they probably wouldn't care because they know what I've been
saying this whole last time. You can make that decision
for yourself. You can't make that decision for your co stars. No,
because the correct me.

Speaker 8 (41:55):
If I'm wrong on this, each performer signs a separate contract.

Speaker 1 (41:59):
Yeah, correct. Yes, Yeah, you can't put your contract condicils
into someone else's contract. No. That's like if you and
your friend got got, like say, iced coffee from Dunkin Donuts,
and you get pissed at them, at your friend forgetting
something with pumpkin in it because you don't like pumpkin. Yeah, like, no,

(42:25):
that's not how it fucking works. Placido Domingo doesn't even
pull this shit, yeah, I mean, and the fact that
I have to say something nice about him grates me
like a motherfucker. Seriously, I will say this for him,
he had. Of all the unprofessional shit he's done, it's

(42:47):
never been something like this he's done, you know, like
the usual unprofessional stuff like groping people when he's not
supposed to. Yeah, which not to make light of that,
that is genuinely fuck awful. But he has never shown
disrespect to the audience the way Angela Georgio has.

Speaker 2 (43:03):
Yeah.

Speaker 1 (43:03):
And I said to my mother when this incident first
broke and her statement came out, you know, I know
he's not doing tenor roles anymore, but I would have
loved to see her try this bullshit once with Placoda
Domingo as the lead.

Speaker 8 (43:18):
Because him who and or like Papardi or.

Speaker 1 (43:22):
Even Hosiers, any of the three, any of the big
name tenors from back of the day, not just the
three tenors, would have immediately disabused her of any notion
that that was okay, an okay thing to do. Oh yeah,
And I bet the only reason she has started to
pull it now within like the last ten odd years

(43:42):
or so is because she knows that these are tenors that,
while popular, aren't considered to be at that particular legendary
level yet. Yeah, so she thinks she can get away
with it now.

Speaker 2 (43:59):
Oh yeah, guess what.

Speaker 1 (44:05):
In the immortal words of your baby Yoda Na Nah, yeah, no,
that's like and I really shouldn't be as happy that
this is going so badly for her, but dude, fuck
around and find out.

Speaker 2 (44:20):
Yeah, seriously, like you, you genuinely cannot treat your audience
that way and still expect them.

Speaker 1 (44:32):
To have any sort of respect for you.

Speaker 2 (44:35):
Seriously.

Speaker 1 (44:36):
Oh I mean, I mean, even when the whole initial
thing broke without in a trupco supporting Russia, which I'm
betting she got some booze oh yeah, at performances, she
didn't even pull anything like this yeah, she kept she

(44:58):
kept it to like social media and whatnot, which yeah, yeah,
which I mean isn't, you know, the most mature thing.
But I mean those of you who have seen our
live tweets on X when we when we watched her
and dot know that maturity is not our strong student either.
But that's nowhere near and we're doing it for fun, right.

(45:22):
There is no way that in hell that we would
keep the listen. And again, I'm still surprised we did
lose listeners after the whole episode of episode ripping on Domingo.
I will I will wonder how the hell we manage
not to lose listeners on that until the day I die.

Speaker 8 (45:38):
But there's a world of difference between.

Speaker 1 (45:45):
Putting your opinions out on something on social media and
doing what Angela Georgia did.

Speaker 9 (45:52):
Oh yeah, absolutely, and that being but that being said, though, folks,
in the words of the late Billy Mays, but wait.

Speaker 2 (46:05):
There's more. Yeah, so the Sijong Center uh came out
with their own statement. They clapped back. Okay, yes, good,
and they clapped back in the best way hover now
that okay, so that first, uh so this this news

(46:28):
broke on the ninth by the twelfth, This is three
days later. The Sijong Center insists that there was no
formal agreement on encores during the performance of Tosca that
soprano Angela Giorgi interrupted the famous soprano. No, it was

(46:49):
agreed to, confirmed it from her.

Speaker 1 (46:53):
Managing company. Yeah, it says, but.

Speaker 2 (46:57):
The performance performances organized are claiming that Jorgu is not
telling the truth. Wa The soprano conveyed her wish through
her manager that there be no encorees for any of
the performers, including herself. However, this cannot be considered a

(47:19):
formal agreement and official of the theater, per The Korean
Times said. Per the Korean Times, the encore was decided
and carried out in response to the overwhelming applause and
support from the audience after the tenors aria. This decision
lies with the conductor and is not determined solely by

(47:41):
one singer's preference. The encore was decided and carried out
in response to the if the soprano felt for some.

Speaker 1 (47:50):
Reason, there's a little bit of formatting it.

Speaker 2 (47:52):
If the soprano felt the need to protest the disregard
of her philosophy and opinion regarding encorees. There was sufficient
There were sufficient alternative methods other than disrupting the performance.
It is highly regrettable that the situation unfolded the way
it did.

Speaker 1 (48:12):
And guess who's been silent the last three fucking days. Nina, Nina,
Nina bitch.

Speaker 2 (48:24):
Who in the words of Brandy Rose, who the hell
told you you could come out and interrupt an encore?
Bitch wish?

Speaker 1 (48:34):
Who the hell told you anyone would believe your management statement? No,
even who the hell told you anybody would believe your
management statements? You low class as, disrespectful, less talented version
of Maria Kallis.

Speaker 2 (48:53):
Oh oh, Maria Palace at.

Speaker 1 (48:58):
Her absolute diva eist did not pullshit like that. And man,
she was begging her start alone Nasis for a while.
She could have gotten away with literally anything. Yeah, he
had the money to just make shit go away. Yeah,
but no, even the divas never did that. Like I said,
even Kathleen Battle at her most combative, was never combative

(49:23):
with the audience. No, it's she granted she was combative
with management. And you know, from what I understand at
the time, you know, things she had good reason. Yeah,
but I this is the first i've ever heard of
any opera singer getting directly combative with the audience themselves, yeah,

(49:44):
or disrupting. Now granted, granted, I've heard of Pavarotti disrupting
an opera because but he wasn't on stage for that
part anyways. He just it was like something for act
three he had to vocally do something backstage and he
had something and they said, they said, well, you're supposed
to do this an actor, and he said, well, they
shouldn't have killed me an act too.

Speaker 2 (50:06):
Yeah, but he did it.

Speaker 1 (50:09):
Yeah, it wasn't a it wasn't an extended delay. Yeah,
which something should have been said to him back then too,
because you know, come on, Luciano, that's not cool. I mean,
it's not a key response at the side. Apparently though,
that's the only time he ever ever pulled that particular thing.

Speaker 2 (50:28):
Yeah, but.

Speaker 1 (50:31):
And then and apparently and according to and I think
that was in the new Book of Opera Anecdotes or
one of the opera anecdotes books that I have. But
it didn't cause an extended delay the way she did.

Speaker 2 (50:41):
Yeah.

Speaker 1 (50:43):
Yeah, this is the first I've ever heard of somebody
being directly rude and combative with the audience. And with
the audience, and that's that is not cool. Yeah, Like
that's the opera equivalent of Jane's addictions fight on stage
last week. Oh my god, that's literally what it is,

(51:04):
the opera equivalent of that. Like you're just like you
are complaining about somebody disrupting the performance, and then your
response is to disrupt the narrative flow of the opera further. Yeah,
I'm shitty at math, but the math ain't math in there?

Speaker 2 (51:25):
Like, who the hell you think you are, Perry Farrell? Jeez,
I mean crap.

Speaker 1 (51:32):
But yeah, like no, that's like even the opera singers
that we know to have been combative backstage never took
it to the front of the house. She now, granted
she has a good voice, but I cannot have respect
for anyone that treats the fans like that and then

(51:56):
pulls a whoa the fuck is me?

Speaker 2 (51:59):
Yeah, like yeah, it's her Her explanation of I I
I have asked.

Speaker 1 (52:08):
This agreement, this agreement. No, you can't make that agreement
for other people.

Speaker 2 (52:12):
Yeah, it's like it's like being on a diet and
telling and getting pissed off at somebody else eating a
donut exactly.

Speaker 1 (52:26):
There might even be willing to go one further. It's
like being straight and getting mad the two gay people
are getting married. How does that hurt you?

Speaker 2 (52:32):
Yeah?

Speaker 1 (52:34):
How does someone else having and an encore hurt you personally?
How does dealing with how does dealing with a slight
DELI it slight maybe five minute delay to make the
the people who paid good ass money to come see

(52:54):
you happy hurt you. You're still getting.

Speaker 2 (52:58):
Paid, yeah, and they still get to see you.

Speaker 1 (53:03):
Yeah, and they asked for you to encore first.

Speaker 2 (53:08):
Yeah, So just because you don't want to.

Speaker 1 (53:10):
Do it doesn't mean you don't get to. Doesn't mean
you get to tell people other other folks in the
cast that they can't do it either.

Speaker 2 (53:17):
Yeah, it'd be different if, like the director said, we
don't want I don't want to, you know, en course.

Speaker 1 (53:28):
I mean even then it would still not be cool
and agree for everyone else, because because like they said,
it's at the discretion of the performer and the conductory. Now,
if the conductor signed something saying that he wasn't going
to be doing encores, that's different because that's somebody who

(53:49):
has direct decision making power as whether or not an
encore happens, and that would have been completely understandable if
the if that happened and the doctor had signed an agreement, yeah,
saying that had signed an agreement saying that in no
verbal day, future, verbal day, futuro here bitch no, Oh,

(54:15):
it's like like, come on, no, that that's not how
that ship works. You don't get to make the decision
for anyone else in the house when it's some when
it's a two person decision. Yeah, you don't get to unilaterally.
That's the word I was looking for.

Speaker 2 (54:33):
Yeah, oh yeah, we yeah, we the opera.

Speaker 1 (54:40):
God. I think what pisses me off the most is
just the blatant disrespect to the fans that, Yeah, they
wanted to hear you sing again. I'm sure they were
disappointed when you declined the aria, but they seem to
have moved on from that. Yeah, and they wanted to

(55:00):
and they wanted to reward the tenor the same way
they wanted to reward you. Yeah, they're not the ones
being disrespectful. In fact, they're doing what opera fans for
hundreds of years have done as a mark of respect
for the performers. Yeah, they tried to show you respect.

(55:24):
That is a form that respect the way you wanted.
Doesn't mean they weren't respecting you. Yeah, it's like I'm
fucking autistic, and I understand that, Like Jesus lady, if
I can get it.

Speaker 2 (55:39):
Seriously, that's that's their form of that's it. That's their
way of showing affection, you know, for that in respect.
Like like I mean, like their Sandra Rodvenovski, you know,
doing encores.

Speaker 1 (55:58):
She doesn't have to every night of the run that
they had her and Yonas encoreing. Yeah, and song of
songer Rabanovsky did it with no complaint. Yeah, I mean, yeah,
it made things a little bit longer, and she probably
was tired, but she didn't take it out on everyone. Yeah,

(56:20):
she probably sturt out on her pillow and possibly a
couple of melatonin pills, but afterwards, but not on the audience.

Speaker 2 (56:28):
Yeah, Yonis does it. Yonis does encourse with Dough with
no complaint at all, because he knows, he knows, he's
I think he said before the audience. You know, it's
it's the audience that wants it. It's the conductor. If
the conductor agrees, then I'll do it because it's the
audience that wants it. Yeah.

Speaker 1 (56:49):
Now, like like I said, if the conductor hadn't agreed,
that's something different entirely. But the conductor was down. Yeah,
both times, the conductor was ready to do that.

Speaker 2 (57:02):
Like yeah, and like I've you know, I and and
of course that's the only time I've seen him. That's
the only song I've seen him on for uh. It's
it's because people you know that that's like his signature song,
and people.

Speaker 1 (57:22):
Like that's a Lucia an Deceilla is to Yondas Kaufun
what nesson Dorma is to Pavarotti.

Speaker 2 (57:27):
Yeah, but like seriously, like he and and Yonas and
I think the part of the reason why Yonas says
the encores of that song is Tusca is one of
his favorite operas. Yeah, so he's.

Speaker 1 (57:44):
Doing something he loves twice over, like multiple times over. Yeah,
when he whenever he performs as Cavaradosi. Yeah, he's He's said,
he's always sad. He says.

Speaker 2 (57:55):
If somebody asked what my favorite opera is, I usually
say it's the opera that I'm in now, But tosk
it is one of his favorites because it's the one
he like, He doesn't like to repetitively do one repetitively.
He doesn't like to start and offer repetitively because it
gets old, you know that the the there's no, yeah,

(58:17):
it doesn't gets old too quickly. So that's why he
That's why like he had like when he did La
Web in twenty twenty, he hadn't done it in like eight.

Speaker 10 (58:27):
Years, and like he he he waits a while between
the like Aida and yeah and other and these other
like he hate he it was what it was, what
five years between.

Speaker 2 (58:42):
His performances of Funchula Dust, so he waits years between them.

Speaker 1 (58:49):
But yeah, Dick Johnson needed a rest. I had to
huh right into that. That that that's once again it's
I can I could like picture the look on Christa's
face as soon as those words left her mouth. It's

(59:09):
like and here we go by just waiting. Yep.

Speaker 2 (59:16):
But seriously, but Taska is one of those things he
can do like every year or year and a half
because he loves that role and he loves that opera.
So for him to do so, for him to agree
to the encore, it's a sign of respect to the audience. Yeah,

(59:40):
it's a sign of affection from him to the audience.
And it's you know, not only is it the audience
saying we love your performance so much we want to
hear it again. It's Yoda saying, okay, I'll sing it
again because I understand how much you love, how much
you love.

Speaker 1 (59:58):
Me, you know he I love doing this too, yes.

Speaker 2 (01:00:02):
And so he You know, if you so for for
her to say I refuse to do encores is not
only saying I don't like like I.

Speaker 1 (01:00:18):
Said, like, I can understand not wanting to do encores.
That's perfectly fine, but there's a right and wrong way
to do it.

Speaker 2 (01:00:27):
Yeah, yeah, And it's like, yeah, if you don't want
to yeah, that that was that was absolutely the wrong way. Yeah.
If you could sit there and tell the tell the conductor,
I won't do an encore, I refuse to do encores.
But you can't say I'm not going to do an

(01:00:47):
encore and I don't want anyone else to do it encore.
No no, no, that's not how it works. That's not
how any of this works. So you know, yeah, you
could say I don't want to do it on core,
but if the tenor wants to do it on core,
that's fine. Just remember, yeah, it's just kind of just

(01:01:09):
keep in mind that it that it will take time.
You know, it will take you know that it takes
up time. Yeah, just keep that in mind.

Speaker 1 (01:01:19):
Uh, and don't be a bitch about it.

Speaker 2 (01:01:22):
Yeah, but it reminds me of Marcello Alvarez. Remember how
he he no doubt of the performance because because of
the what was it? He said, Oh I, I, I
am highly allergic to the ship that was on stage
and I and I told him I didn't want to
do that, and that I was like, okay.

Speaker 1 (01:01:41):
Yeah, that's it. That's not the way to do it either, no, no, no, no.

Speaker 2 (01:01:50):
So yeah, so this this this ship is like no,
there there is a good connotation to the word d va,
and there is a bad connotation to the word diva,
and she gives a bad connotation to the word diva.

Speaker 1 (01:02:09):
Yeah, this is the worst diva behavior.

Speaker 2 (01:02:13):
Yeah, this is bad DIFA behavior.

Speaker 1 (01:02:16):
Like this, this is the stereotypical diva behavior.

Speaker 2 (01:02:20):
Yeah, this is what yeh.

Speaker 1 (01:02:23):
Which it's utterly fucking hilarious that there's always this stereotype
of the diva and for offer singers, and then you
go back and look at all the female opera singers
and they're like literally none of them have treated the
audience that way. Yeah, like like yeah, they've they've had
some weird backstage requests, but I mean that's true of
kind of any musical performer. Oh yeah, it's like some

(01:02:48):
of them want only one type of eminems, some of
them want a bunch of hoes.

Speaker 11 (01:02:54):
But but like.

Speaker 1 (01:02:58):
None of them have ever behaved towards the audience that
the way that Angela Georgio has, no and it's nice
that it seems to be limited only to her and
that it's not setting a precedent.

Speaker 2 (01:03:15):
Because everybody else is like I'm professional. Yeah, this is
not only this is not only.

Speaker 1 (01:03:24):
Tan most realizes that it's not just about them. This
is they may be listed first on the program, but
they realize that it's that that even performing an opera
is a community.

Speaker 2 (01:03:39):
Effort, and and the the other these other performers. They yeah,
the like Yonas is is usually listed like when you
like in like for uh, any kind of any type
of opera, if you if Jonas is on there, he's
the draw, He's the draw on there, and you know,

(01:04:04):
like like why are you coming to this opera? Koffman's
in it? Oh did you know on a Trump in
it too?

Speaker 1 (01:04:11):
Yeah, but I am here.

Speaker 5 (01:04:13):
Yeah, so like that's that's like for example, uh, Lescala
is opening in December with uh Forca del Destino and
Rum going to be in it.

Speaker 1 (01:04:28):
Hopefully this time they let the tenor fucking live like
you're supposed to.

Speaker 2 (01:04:33):
Oh no, that's Fidelio. Oh for yeah, for the wrong opera,
Yeah yeah, wrong opera for Forrest is very.

Speaker 1 (01:04:45):
My brain's been broken for days now, folks, but for
a completely unrelated reason that we won't go to.

Speaker 2 (01:04:50):
But but uh yeah for it is for the one
where is the one where literally Rock's ball everyone dies?
Yeah pretty much? Uh uh but.

Speaker 1 (01:05:02):
Everyone supposed to everyone dies? Who was supposed to die?

Speaker 2 (01:05:05):
I should say, yeah, uh, it starts out like the
dad dies and then.

Speaker 1 (01:05:10):
And then nos reverse reverse reverse, yeah.

Speaker 2 (01:05:16):
And then it's the end and then like the brother Yeah,
the brother hunts down uh the boyfriend who's in the cup,
who's become a priest now, and.

Speaker 1 (01:05:27):
Then there's stabbing mcstab face yeah, and everyone dies.

Speaker 2 (01:05:33):
Yeah.

Speaker 1 (01:05:34):
So it it just.

Speaker 2 (01:05:37):
So yeah, but but like that for that the big draw,
like he hasn't been he hasn't been in that really
since twenty nineteen.

Speaker 1 (01:05:48):
It's been about five years.

Speaker 2 (01:05:49):
Yeah, yeah, he's had a good break because that because
that uh because because I remember when he was.

Speaker 1 (01:05:57):
More technically complicated.

Speaker 2 (01:05:59):
Yeah, I remember that because I remember he was in
that in twenty nineteen. That was the last time he
was in it, because uh that's when uh his that's
when little Valentine was born. He was born during Babby.
He was born during the dress rehearsal, and Jonas had
to miss the dress rehearsals.

Speaker 1 (01:06:18):
Like excuse me, Babby imminent.

Speaker 2 (01:06:21):
Yeah, and he yeah, he was. He missed the dress
rehearsal because of Valentine Babby. Yeah.

Speaker 1 (01:06:30):
Yeah.

Speaker 2 (01:06:31):
So uh so yeah, that that's uh, that's how I remember.

Speaker 1 (01:06:37):
And that's like hold up, Nu Kaufman dropped.

Speaker 2 (01:06:39):
Yeah, but but that that that's that's how I remember
the last time he was in Florida.

Speaker 1 (01:06:51):
And seriously, I mean.

Speaker 2 (01:06:55):
Really, it's just it's just yeah, there's just like everyone
else they realize that they can't do this, they can't
like behave this way because it's not only like showing
that you are that, it's like being it. It's like

(01:07:16):
be childish. It's unprofessional. That's the big word you are,
Like that's the bottom line. Angela Yurgu was being unprofessional
in this situation. Highly this the the the uh phrase

(01:07:37):
that we like to use at work is highly unprofessional.

Speaker 1 (01:07:41):
To quote late local sexpotch, ever more insanely unprofessional, absolutely
insanely unprofessional.

Speaker 2 (01:07:51):
What did Yoonas do, Like like when he when he
had his beef with BYROI, what did he do?

Speaker 1 (01:07:58):
He stopped going to buy roight? Yeah, he didn't quite.
I mean, granted, there are sometimes when you have a
beef with something that opening your mouth is definitely the
best thing to do.

Speaker 2 (01:08:11):
But quote to quote to quote Jack Darkness, time and
a place, Yeah, time and place. Jonas did not say
I'm so sick of Yeah, I'm he didn't. He didn't
come out and say why he was he was the
longer performing Bibrate. The only time he did that was
when somebody it was he's being you know, somebody asked.

Speaker 1 (01:08:32):
Him like, why aren't you performing at Biroth anymore? Yeah,
and didn't make a scene about it. He just was like, Nope,
well here's why you know.

Speaker 2 (01:08:43):
It's like and I I don't think people realize that's
why he won't perform by.

Speaker 1 (01:08:49):
And honestly that would have I mean, anything that dealing
with by Oth is you know, you're well within your
rights to make a big act to make, you know,
for a Ramona Quimby style, great big noisy fuss on
the way out just yeah, but you know he chose

(01:09:11):
not to, and that's cool. But that's a situation that
would have very much warranted One. Yeah, that one he didn't.
I'm sure you know he didn't feel it was professional
to do so. Two that's just not who he is. Yeah,
and that's completely all right if you don't. If it's
a situation where a great, big noisy fuss was would

(01:09:32):
be appropriate, but you choose to handle it differently but
still handle it, Yeah, that's perfectly cool. But if it's
a situation like this where you could have just literally
done any other goddamn thing, then what went down and
you choose to make a great, big noisy fuss about it? Yeah,

(01:09:57):
Oh jesus, it just it just makes that's like whose
soprano is like? Instead of whose man's is this? Whose
soprano is this? Yeah?

Speaker 2 (01:10:06):
Seriously, it's like, oh baby.

Speaker 1 (01:10:08):
What is you doing? Whose soprano is this?

Speaker 2 (01:10:12):
Seriously? And then you got you know, then what of course,
to continue the meme theme, we yeah, you know when
she came, She came out with her statement, and then
when the city the Si Jong Center came out, it's like,
why you always lie?

Speaker 1 (01:10:26):
And then she came, she came out for finally came
out to take a bow, and the audience was like, hey,
nobody got time for that. Yeah, And then it was
time for them to rip on her on the internet
and they're.

Speaker 2 (01:10:46):
Like, I got a little time, yeah, but no.

Speaker 1 (01:10:50):
Look now if now? The other thing is how much
of what is being said about her online with regards
to this is genuine use versus people just being pissed? Yeah?
If he and rightfully so? Yeah. Now, granted, I am
not on Korean social media for multiple reasons. One, I

(01:11:14):
do not speak Korean, so I would not understand what
is being said. Yeah, but two and two it's not
my business to be on Korean social media. But I
would venture to guess. Now, granted, there's always gonna be

(01:11:34):
some assholes that are throwing genuine abuse and that's not cool,
but I would be ventured to venture to guess that
it's more people deeply deeply criticizing her and saying some
bitchy things. Yeah, while do it, we're not genuine not
like Oh, who was it that got that ended up

(01:11:59):
getting death threats and performances?

Speaker 2 (01:12:04):
I can't remember.

Speaker 1 (01:12:05):
It was within like the last year or so, last
or two, but like that was completely out of pocket
and not at all cool. Yeah, I'd be willing to
believe that it's not it's not on the level of

(01:12:27):
American stand behavior that that's being done. Yeah, oh no, no,
it's like I I and I could be wrong, but
I just Opera fans don't really operate that way. No,

(01:12:48):
they're very much less a verbal stabbing mcstab face. Yeah,
far and large. Yeah, they we we we will cut
it bitch verbally, we will, you know, we will. We'll
bitch about it, but we're not gonna automatically jump immediately
to like death threats.

Speaker 2 (01:13:10):
No, we like, well, we won't eviscerate your performance, you know,
but we won't.

Speaker 1 (01:13:17):
Yeah, we won't make it. Ninety nine point nine percent
of the time, opera fans don't make it personal. No, no,
I'm even call and even saying she's an unprofessional bitch
would make her would not count as making it personal
because she is shown through her behaviors on multiple occasions.

Speaker 2 (01:13:34):
Now, yeah, that she's an unprofessional bitch.

Speaker 10 (01:13:39):
Yeah.

Speaker 1 (01:13:40):
Yeah, I'm like, what was that I said? I mean
shown she was unprofessional on multiple occasions, but I mean
coming out and demanding that they respect you, that's a
bitch move.

Speaker 2 (01:13:50):
That is a bitch move. And I'm sure like yonis uh,
yonis is uh and he told.

Speaker 1 (01:13:56):
The truth about what actually went down during that. Yeah,
just stuck to the unprofessional side of it. There was
definitely an undercurrent of bitch.

Speaker 2 (01:14:07):
Yeah. But he he's he's currently ill with the flu
or he's getting rid of he's getting over the flu,
because that's why he wasn't. He was supposed to be
at the Hollywood Bowl a couple of days ago, and uh,
he has he has the flu. So he he uh,

(01:14:27):
he's he's going to be I believe he's gonna be
towards the end of the towards the end of the month,
he's gonna be uh performing in uh Bulgaria, I believe
and Belgrade, so uh hopefully, So you know, cross fingers
that he's better, that he's recovered for that. But I'm

(01:14:50):
sure he was, Yes, who's the best slung uh and
you know, refuge refuge lama. But I'm I'm sure he
was sitting there you know, chuckling over the fact that
she did the well, not chuckling, but like.

Speaker 1 (01:15:08):
Chuckling over the fact that he knew that this was
going to end badly.

Speaker 2 (01:15:12):
Yes, and yeah, like he saw the end result and say,
oh yeah.

Speaker 8 (01:15:17):
He's like, yeah, this is beyond what happened with us.

Speaker 1 (01:15:20):
Yeah, he did, like what happened with his performance, Like
you could easily play it off as you know, I
had to poop mm hmm or something like that. Like, No,
there was no statement issued. Nobody really bitched. But that's
because while what she did was was rude, it wasn't

(01:15:41):
rude to the audience.

Speaker 5 (01:15:43):
Yeah, and yeah, it was well, it was rude to Yeah,
it was rude to him because she made him apologize.

Speaker 1 (01:15:51):
Yeah, but it wasn't direct rudeness to the audience. No,
it was not like he probably saw that report from
the Korean Times and was like, oh, this is going
to end well.

Speaker 2 (01:16:02):
Yeah, Like yeah, I'm sure he I'm sure he was saying.
I'm sure he was thinking it's what she deserves.

Speaker 1 (01:16:14):
Oh yeah, Kim Kardashian when you need it, Yeah, which
serves which really truly she does, because this is the
sort of thing that cannot that should not get ignored
if you're going to be that rude, like outright rude
to not only your coworkers but the people but people

(01:16:41):
who maybe you know, I don't know what opera prices
in Korea are like, but you know, for somebody with
that big a name, because she would probably be the
name draw for that I would probably cost a fuck
load of money. So like, if you paid good ass

(01:17:02):
money that maybe you've saved for a while to go
see this opera and the soprano pulls that, yeah, that's
not something that should be ignored. That is something that
should be criticized and talked about and there should be consequences.
Yeah or otherwise.

Speaker 12 (01:17:18):
Oh yeah, look I mean and if like Peter Brischelle
pulled that same time was the kind of person that
would pull that same sort of ship, I'd be saying
the same damn thing.

Speaker 1 (01:17:29):
Yeah, Like, you don't treat the audience that way. But
of course we know he's he's he behaves himself, like
the vast majority of performers behave themselves towards the when
it comes to the audience. Yes, like they may pull
all sorts of shenaniganry and bullshit backstage but.

Speaker 2 (01:17:56):
They respect the audience.

Speaker 1 (01:17:57):
At least show respect towards the audience. Yeah, this is
a word, an actual worrisome show of disrespect towards the audience.

Speaker 2 (01:18:05):
Oh yeah, oh absolutely.

Speaker 1 (01:18:10):
It's like, you know, you just wonder if like, like,
what kind of a person are you that you now
think that's okay?

Speaker 2 (01:18:21):
Yeah, you know, it's like we don't. Yeah, you haven't
been on stage and god knows how long in a
major venue that we've seen, and now you're like, oh,
I know.

Speaker 1 (01:18:40):
What, I would love to come back to the met
and I would love.

Speaker 13 (01:18:43):
To do this, this or this, And it's like, Okay,
do you really think And Peter Gilb's not stupid, Yeah,
you really really think.

Speaker 1 (01:18:57):
I mean, y'all saw what happened with on an atrumco.
Peter Gilb is not stupid.

Speaker 2 (01:19:09):
Yep.

Speaker 1 (01:19:10):
He knows that if somebody has a reputation for an
immediate recent reputation for bad behavior, that wants to come,
that wants to perform there, they're going to get told no.

Speaker 2 (01:19:24):
Yeah now.

Speaker 1 (01:19:27):
And and I think it's very telling that all but
one of the points that Natrebko stued the Met on
got thrown out. All but one of them which which
proves that, you know, it wasn't the Met fucking around
as much as she said, which like that's understandable because

(01:19:51):
it would look that that was the case where it
looked it truly looked like the Met was, But clearly
the METS lawyers and the Met the evidence that no,
that's not what the case was at all. Yeah, but
I totally believe now that Angela Georgia has shot herself

(01:20:13):
in the foot when it comes to when it comes
to any chance of performing at the Met I had.
I do not think she will ever be asked back.
Oh no, oh no, I mean look how long, Look
how how many decades it took them to have Kathleen
battle back and all of her and all of the

(01:20:34):
things that she was reportedly doing were backstage, none of
it was done directly to the audience members. Yeah, that
long of an exile for backstage bad behavior. Peter Gelb's
not gonna And there's no way in hell Peter Gelb

(01:20:54):
would have to die and Satan himself would have to
take over as general manager of the Met for Angela
george to be able to be allowed to perform there again.

Speaker 14 (01:21:02):
Afterward.

Speaker 1 (01:21:03):
Oh yeah, yeah, I I she's really I this I
I don't want to say it's career ending, but it's
career threatening. But it very like, given that it was done,
it was done directly to the audience, it could very
well be career ending.

Speaker 2 (01:21:23):
Yeah, if you know, if if like, yeah, let's say
you're like Sarage Dorney or uh they know, like the
guy for I can't remember the guy the intended for
the Wien or you know, the like the uh La Scala,
especially a place like LaSala forgot for God's sake, Uh yeah,

(01:21:44):
the the uh paras opera. They're not gonna they're going
to look at that and say, is that how you
treat your co stars? Is that how you treat the audience?

Speaker 1 (01:21:56):
Yeah? I don't know if I.

Speaker 15 (01:21:58):
Want you on my stage anymore, you know, Yeah, because
there's no way to predict how she's going to treat
the audience next at this point, like with doing it
with you as, one could argue that that was a
one off moment.

Speaker 1 (01:22:12):
Yeah, but this is the second time she's done it. Yeah,
And this is the first time that she's actually yelled
at the audience. Yeah, And that is just not something
that you do in opera. No, unless it actually requires
you to go out into the audience and starts screaming

(01:22:32):
and shouting. Yeah, which, god Onlinos. Maybe Thomas Addis has
something in the pipeline that has that written into it.
Oh you, that's opera is one of those professions where
biting the hand that feeds you can and will backfire spectacularly.

(01:22:53):
Oh yeah, and she is given the fact that the
Sejong Center put that out so quickly, and there's been
radio silence from her managing company for the last three days. Yeah,
they're I think they're scrambling. They're probably scrambling to find

(01:23:15):
a way for this not to sink her entire career.
Oh yeah, And I am not.

Speaker 8 (01:23:25):
I I mean, I.

Speaker 1 (01:23:26):
Don't foresee any of the big name houses taking her back.

Speaker 2 (01:23:29):
Yeah, she's gonna what she's gonna do, She's gonna.

Speaker 1 (01:23:32):
She's gotten herself blacklisted.

Speaker 2 (01:23:34):
Yeah, she's going to She's what she'll do is she'll
go to the She'll go to these places and say
I want to perform in this, this and this or Yeah,
she'll pick it off her and they'll say, well, we
understand your uh position on encores, but we.

Speaker 1 (01:23:51):
Can't promise, we can't guarantee that.

Speaker 2 (01:23:54):
Yeah, we can't. We can't guarantee that no one else
will perform it. That's all. That's only for you, it's
not for It doesn't cover everybody else. If somebody else
wants to do an uncore, that's up to them and conduction,
so they.

Speaker 8 (01:24:08):
Won't flat out, if they won't flat out say.

Speaker 1 (01:24:10):
It's because you acted like a heinous bitch to the audience.

Speaker 2 (01:24:13):
Yeah, but they'll suddenly say no now like yeah, she's
like she's broken.

Speaker 1 (01:24:21):
Her management company broke cover essentially, Yeah, because now everyone
knows that this is a thing that she wants, Yeah,
that she has as a requirement for performing. Yeah. And
I don't think there are a lot of places that
would willingly meet that. No, if any mm.

Speaker 2 (01:24:37):
Hm especially especially can try You can try Minsk, Yeah,
especially like if you if you, uh, you know, if
you're going to star with somebody of the caliber of
say Yonas or Jonathan Tedtleman or uh Jose Printer right now,

(01:25:06):
you know, or Brin Terrifer.

Speaker 1 (01:25:07):
Since we're talking about Tosca, we can't really talk about
Tosco without a bass baritone. Tossing a bas baritone name
in there.

Speaker 2 (01:25:15):
Yeah, friend terful or.

Speaker 1 (01:25:18):
Or you know.

Speaker 2 (01:25:19):
Yeah, yeah, so you can't.

Speaker 1 (01:25:22):
You know, you can't.

Speaker 2 (01:25:25):
You know, if you can't pave like that, you can't
if there's.

Speaker 1 (01:25:29):
Going to be even if it's not that level of
stark stark caliber you even if you're the name draw,
you can't behave like that.

Speaker 2 (01:25:42):
No, you don't get to dictate everybody else.

Speaker 1 (01:25:46):
Yeah, And like I, like I said before, even Maria
Kallis at her worst when her asshole husband was in
charge of everything, didn't pull ship like that. Nope, because
she knew better and so did he, that that ship

(01:26:07):
would not fly. So what makes you think that you're
of such a caliber that you can control literally everyone's contract. No,
that's not how it works. That's never been how it worked. No, hurt,
not since not since I wait I think of it.

(01:26:29):
That's not been. That's not been the way it works
since monarchs stopped being opera patrons that had a say
in everything. So it's like, unless you were your contract
was issued by a monarch of reigning monarch themselves, you don't.

(01:26:49):
There is no one person controlling an opera contract that
says it. I haven't seen fucking do that.

Speaker 2 (01:26:56):
Yeah, I haven't seen that level. I haven't seen that
level of control since uh, Vogner through the through that
hissy fit about Percival being conducted by a Jew. So
and even then, you know, it's like, yeah, he just
because he because remember Ludwig the second said no, I

(01:27:18):
want to keep this. I want to keep this conductor here.
After Vogner said now I want a Christian conductor, he said, no,
this conductor's fine.

Speaker 1 (01:27:27):
Ludwig was like, okay, you can suck my nuts.

Speaker 2 (01:27:30):
Yeah, I want this conductor. And then vogners what did
Vogger do? He said, fine, but I want you to
know that I feel it's offensive for a Jew to
conduct the most Christian of operas.

Speaker 1 (01:27:45):
And Ludwig went, fine, but I feel that it's most
offensive for you to not be sucking my nuts right now.

Speaker 2 (01:27:52):
Yeah, I said.

Speaker 1 (01:27:53):
It's like he did not care a single fucking bit. No,
you're wanted. And that is the only time that something
like that can go down if you're a reigning monarch
and you are in charge.

Speaker 2 (01:28:10):
This is this, you know, this is yeah it yeah.
The it goes back to like when the when the
uh you know, when the monarch would or like the
government would censor back when there were kingdoms and yeah,
the electorate or like the Austrian and an emperor, that

(01:28:34):
they would censor. They would even go so far as
to censor parts of the opera itself. But even kinds
of real.

Speaker 1 (01:28:41):
Helm didn't pull this nonsense.

Speaker 2 (01:28:43):
No, but this is you know, but you know you're
not You're not the queen, you're not an empress.

Speaker 1 (01:28:53):
You're not in charge of this production. No, and even
if you were, there are bod he's in place now
that could still fucking overrule you. Yes, who And honestly,
what tenor in their right mind would s or anyone
in the right mind, any performer in the right mind

(01:29:14):
would sign a contract that said, based on such and
such as beliefs, you can't do such and such during
an opera. They wouldn't. That would never get signed. M hm.

Speaker 2 (01:29:32):
Nope.

Speaker 1 (01:29:32):
So yeah, I honestly think she's not. I think she's
shot herself in the foot career wise, very badly, because
now everyone knows what she's expecting as part of a contract,
and it's something that no opera house in the right
mind would be willing to offer.

Speaker 2 (01:29:50):
I would be very, very shocked if she changed her attitude.
I honestly don't think she will no, she won't.

Speaker 1 (01:30:00):
Just the fact that this is the second time that's
happened and she's arguably escalated it.

Speaker 2 (01:30:06):
Oh yeah too, Yeah, it went from temper tantrum. It
went from temper tantrum to outright Uh.

Speaker 1 (01:30:15):
It went from temper tantrum backstage to temper tantrum on stage. Yeah,
so you like, No, I honestly, I honestly think that
that she'll be like limited to recitals. Yeah, which, when
you think about it, isn't a isn't a bad way

(01:30:37):
to make a living. Still, No, but this will be less.
This will be stuck to recitals as a punishment.

Speaker 2 (01:30:46):
Yeah, this is this is the ultimate suck around it
right out, Like she's They.

Speaker 1 (01:30:53):
Won't offer concert performances to her either, because they know
how she feels. Mm hmmm. And granted she thinks that
they're okay during concert performances, but you know what if
at some point, like the people who are putting the
performance on have to think, what if at some point

(01:31:13):
she decides they're not okay?

Speaker 2 (01:31:15):
Yeah?

Speaker 1 (01:31:16):
Do they want to take that risk? Yeah, she's made
herself too much of a too much of a liability.
Oh yeah, the point she's now credit I could be wrong,
because God only knows artists are weird. But I honestly
think that now that they now that people know what

(01:31:37):
exactly she expects yeah for a performance, that it's too
much of a liability on the opera houses.

Speaker 2 (01:31:44):
Oh yeah, they it's it's too risky for her to
be yeah, and you know, and and she's.

Speaker 1 (01:31:51):
Not saying herself the opera equivalent of early nineties of
nineteen nineties Robert Downey Junior, Oh, too much of.

Speaker 2 (01:31:59):
A risk and and you never know, and they're you know,
let's say that this would be.

Speaker 1 (01:32:05):
Like God, it would be so much easier if she
was just doing cocaine all the time, like Robert Downey
Junior was. Yeah.

Speaker 2 (01:32:09):
Really, But no, I don't.

Speaker 1 (01:32:12):
I honestly don't think there's really any way she could
redeem herself from this.

Speaker 2 (01:32:16):
No, because here's here's the thing. Maybe maybe an opera
house will say, Okay, I'm going to take the chance
on her because she is because she's a big name.
But then they approach tenors to Yeah.

Speaker 1 (01:32:32):
Even if the opera houses reach out to her, who's
going to want to yeah, Like maybe some brave soul
will say okay, But then their performance is so far
because they're worried about what's going to happen if they
do well enough to require to have an encore, because you.

Speaker 2 (01:32:48):
Know now that this is the second time that's happened.
Yona's ain't gonna do that again.

Speaker 1 (01:32:54):
I mean, I think Yona's would not have been willing
to do it after the first time.

Speaker 2 (01:32:59):
Oh no, oh no, Yona Is they gonna do Yona's
They gonna take a chance, like He's he's gonna be like, no,
that's it. You and I and I don't think he's
I don't think he's performed with her since then.

Speaker 1 (01:33:13):
Yeah, he he knew, Yeah, he read the song, he
read the writing on the wall, and he was like,
I'm not gonna risk this again.

Speaker 2 (01:33:20):
Yeah, let's say let's say let's say the Weien says, hey, Yonas,
you know, we have the we have this new production
of Tosca.

Speaker 1 (01:33:30):
He's gonna be Tosca, and we want we were thinking
Angela Georgia.

Speaker 2 (01:33:34):
Nope, no, you know, yeah, anybody but her, But yeah, yeah,
He's he's not going to do it.

Speaker 1 (01:33:44):
And and and I honestly, at this one, I think
her best bet would be trying to get into a
production with Domingo as a baritone.

Speaker 2 (01:33:52):
But because please God, let her do.

Speaker 1 (01:33:55):
Let her get in a production with with Domingo or
any up the other ones that are considered elder statesmen
of opera now and pull this shit, please God. I
don't ask for much in life, yeah, but I really
really want to see her try to pull that shit

(01:34:17):
with somebody who's been performing opera longer than she's been alive.

Speaker 14 (01:34:23):
Oh yeah, And you know, as much as we rip
on him, Domingo's the only one that fits that description
of because I think Carreras is basically retired except for
recital performances, isn't he.

Speaker 1 (01:34:34):
Yeah, And Domingo would not immediately not stand for this ship. No, Paparadi,
if he were alive, were to throw it a great,
big noisy fuss right back, which then it would have
been kind of funny.

Speaker 2 (01:34:51):
Yah.

Speaker 1 (01:34:52):
I mean, it still would have been wof like incredibly unprofessional,
but he would have stopped the orchestra to bitch her
out mid mid performance, and that would have been.

Speaker 2 (01:35:00):
Oh my god, right if she had. If she had
come out and said yeah, respect literally, Pavaratti would have.

Speaker 1 (01:35:10):
Stoped at the opera and given out given out a
very English bitch, what before going off on our own Italian?

Speaker 2 (01:35:16):
Oh yeah, oh my.

Speaker 1 (01:35:19):
I honestly think she was doing it because she figured
it was a lower ranked tenor and she could get
away with it. Yeah, underestimating, of course, the how the
audience would feel.

Speaker 2 (01:35:33):
Yeah, just because you're.

Speaker 1 (01:35:36):
A heroine of the opera doesn't mean they're going to
be on your side.

Speaker 2 (01:35:41):
Just I cannot stand this girl. I cannot like her behavior.

Speaker 1 (01:35:47):
Is Na.

Speaker 2 (01:35:49):
Yeah, you know, there there's a reason why we called
her invisible soprano, and now she's like, you know.

Speaker 1 (01:35:56):
It's like she's trying to make herself in the invisible
soprano now up for real. But yeah, I don't I
don't know that the performance wise. I mean, at the
very least, we're gonna see an influx of what happened
after on a Treubgo came out in favor of Putin.
There's gonna be a significant amount of cancelations at the

(01:36:18):
very least.

Speaker 2 (01:36:19):
Oh yeah, and I just.

Speaker 1 (01:36:24):
I mean, granted, people are still hiring the trip, but
it's on a much smaller scale. I think at the
very least, that's gonna be what happened, what happens, and
they're going to have a difficult as fuck time getting
tenors and baritones and base paritones who are willing to
work with her, And if they do, they're going to
have to They're probably gonna put some sort of clause

(01:36:47):
in the tenors contracts now that they may not have
had you before.

Speaker 2 (01:36:52):
Yeah, that's that's gonna be that. I don't know, you.

Speaker 1 (01:36:55):
Know, like they're going to have to do a lot
more if they a lot more contract wise and negotiation wise,
if they want to get people to work with her
after this.

Speaker 2 (01:37:04):
Yeah, they if they know that you either yeah, either
she's gonna have to concede that that if the no
encore thing only covers her, or.

Speaker 1 (01:37:18):
The tenors are going to be asking for a lot
more guarantees, yeah, to protect themselves, and the other performers
are going to be asking for more guarantees to protect themselves.
Yeah that like, you know, somebody if if we get
an encore, somebody has to watch her, Yeah, and somebody
has to hold her ass backstage to make sure she
doesn't do this, yeah, which is going to be more
of a strain on the Offera house too. Mm hmm.

Speaker 2 (01:37:42):
So it's she Oh, she really has s fucked herself over.

Speaker 1 (01:37:48):
You've done messed up Aron, Oh yeah, on she's yeah this,
I don't think there's there's going to be much in
the way of coming back from this. Oh no, just
because it's now. There's now, Like I said, pulling that
ship backstage is one thing. Pulling that ship and yelling

(01:38:10):
at the audience is another beast entirely, and there's more
going to be more of a domino effect on that.
Oh yeah, so so much more of a domino effect
on that.

Speaker 2 (01:38:21):
And I believe you know what I think.

Speaker 1 (01:38:27):
I am and I am trying so hard to resist
saying what I want to say after you said I believe,
but you suffices it to say clap clap. But yeah,
there's just this is probably set up more of a
domino effect than she thought it would have.

Speaker 2 (01:38:45):
Yeah, it was done right. Stupid ever to do that,
to do it? Yeah, it's like stupid, stupid, stupid.

Speaker 1 (01:38:55):
No. But in all so she is I don't think
even she realized this, or but she probably doesn't care. Yeah,
to be honest, no, but I think in the next
weeks and months she's going to care. Yeah, because she's
going to see a hit where it hurts and people

(01:39:16):
like that, Where does it hurt their wallet?

Speaker 2 (01:39:20):
There is a there is a clip of her yelling
if the actual part where she yelled in the original
article on my phone.

Speaker 1 (01:39:32):
My phone's dead, so I can't watch it. We're all
gonna have to watch that once we go off air.

Speaker 2 (01:39:38):
I'm going to put I'm going to put that in
the in the on the Facebook page. Yeah, I'm gonna
put the article. I'm going to put a link to
the article on the Facebook page. It's in the article.

Speaker 1 (01:39:50):
Not Alivia.

Speaker 2 (01:39:51):
They have that clip of Yo of the infamous twenty
sixteen incident.

Speaker 1 (01:39:56):
No, not beyond one soprano, but they have they have
this is yeah, yeah, God, God bless God, blessed the opera,
the opera fans of Soul, South Korea, because because Holy Ship,
whoever whipped that phone out knew that that this was

(01:40:17):
something the public needed to see and they took they
saw their chance and they took it. Oh yeah, okay,
and you know what you know, even though she will
not apologize to the fans, I apologize on her behalf
to the fans and Soul because you y'all did not
deserve that ship. This is why, honestly, this is why

(01:40:41):
we folk hate hate one when for an actress come
in because of ship like this, that gives everyone else
a bad name. So still you still you did not
deserve that. And I hope to god she has never
asked back. Oh yeah, I also hope that y'all hit

(01:41:03):
her in the that y'all's social media posts hit her
in the wallet where it hurts her the most.

Speaker 2 (01:41:11):
Oh yeah, see too, because.

Speaker 1 (01:41:13):
Somebody who's willing to be that rude in public, their
wallet's the only thing they care about. Yeah, he's like,
just hear the respect me. All I can think of
is my little sister when she was younger, and just
the one Christmas, I forget what I asked for, but
just out of nowhere, Wendy went, well, guess what you're

(01:41:37):
not getting it. That's all I can think of right
now when I think of her yelling respect me, like,
well guess what.

Speaker 11 (01:41:45):
You're not getting it?

Speaker 1 (01:41:48):
And at this point you do not deserve to get it.
You have done nothing to deserve it.

Speaker 2 (01:41:52):
Yeah, oh my god.

Speaker 1 (01:41:57):
This is such a fucking mass. Oh yeah, she is.
And it's all her own making.

Speaker 2 (01:42:04):
It is.

Speaker 1 (01:42:06):
It is.

Speaker 2 (01:42:10):
So Yeah, we were.

Speaker 1 (01:42:12):
The quota coworker in contexts that will not be provided.
It's like watching the band playing as the Titanic goes down.

Speaker 2 (01:42:18):
Yeah, yeah, we're gonna we're watching it. We're watching this,
you know, we're.

Speaker 1 (01:42:25):
Watching this sinking of a career in real time. No,
it's it's like the year that Tommy Maddox got fired
from the Pittsburgh Steelers. We were at a restaurant in
Mount Pleasant that had a railroad theme and they had
a TV over account, and we were all paying and
my dad and my grandpa and I were watching the
Steelers game and Mattix fucked up somehow, and my dad

(01:42:46):
said to my grandfather, I think we just watched a
man lose his job. And sure enough, like two days later,
the Steelers released Tommy Maddox. Oh we are watching someone
in real time tank their career.

Speaker 2 (01:43:01):
Yeah, and you know what, the popcorn tastes good.

Speaker 1 (01:43:07):
It does. Like I honestly, I don't cheer for anybody
to be unemployed, because I've been unemployed. It fucking sucks. Yeah,
But when you're in a profession that relies on the audience,
the audience, yeah, to keep going, and you do something

(01:43:29):
like that to the audience, you you kind of walked
right into it. Yeah, you have nobody but yourself to
blame for your future, for any future instances of unemployment.
Oh yeah, because not only will the audience remember what happened,
the theater staff and the people in charge of hiring

(01:43:51):
for productions will remember what happened. Yeah, I mean you
saw how quickly it spread.

Speaker 2 (01:43:59):
Like it happened on a Sunday. We found out by Monday.

Speaker 1 (01:44:04):
Yeah, there was video footage available, and there's video of it.
So and like a week later, we've already had the them. Basically,
it's not gonna be like, no, this was never in writing.
This is not something we can put in writing.

Speaker 2 (01:44:21):
Yeah, this is ye know, they had we've had We've
had her statement and a clapback and you know, so
yeah this is yeah.

Speaker 1 (01:44:30):
Not yeah, I wouldn't even say it's a clapback. I
would say it was more a.

Speaker 2 (01:44:36):
A bit you thought. Yeah, no, not that the.

Speaker 1 (01:44:42):
Oh the termin you when somebody's lying, and like they
basically they basically we've had her statement and the fact checking.
Oh yeah, yeah, the word is like dis something and
I can't remember I can't remember it, summon it right now,

(01:45:03):
but yeah, and the fact checking and then radio silence
since that happened.

Speaker 16 (01:45:09):
Oh yeah, so yep, so yeah, the the uh so
yeah that that's that was a big ass thing that happened, folks.

Speaker 2 (01:45:23):
Yeah, we've we we were summoned by the opera gods.
We were summoned from the deep, yes, and you know,
so we had. Yeah, if if there is more news
on this, we will definitely come back and tell you.

Speaker 1 (01:45:39):
Yeah, I mean yeah, we're gonna do. I mean, I
say we even could once we've had a chance to
watch the video and see what what additional fallout there is,
we definitely will be back because holy shit, yeah, I
can almost guarantee now that since there's video of the incident,

(01:45:59):
there's to be more oh yeah, more stuff that happens.

Speaker 2 (01:46:06):
Oh yeah.

Speaker 1 (01:46:09):
Yeah, like oh oh Jesus, the tea is piping hot, yes,
and the kettle.

Speaker 2 (01:46:16):
Is whistling as as as jolly as jolly good, Ginger
says on TikTok, Get your mother fucking tea ready, Get
the mugs ready, Yep, get your mother fucking tea ready.
It's yeah, it's oh yeah, the tea, the tea will
be the tea will be a common honey is yeah,
it's piping.

Speaker 1 (01:46:37):
Hot tea with tea sandwiches.

Speaker 2 (01:46:39):
Yes, all right, so there is the tea. We have
spilled a little bit of tea today. Hopefully there'll be
more just spilled to come.

Speaker 1 (01:46:50):
I mean we've spilled, We've spilled an entire pot. There's
a entire pot worth.

Speaker 2 (01:46:55):
Yeah that.

Speaker 1 (01:46:56):
Yeah, there's gonna be more. I mean, given the situation.

Speaker 17 (01:47:00):
Yeah, there, there's there's got to be more that's happened,
that happens.

Speaker 2 (01:47:05):
So because I.

Speaker 1 (01:47:06):
Don't think that she's the type that would take that
particular statement from the Young Center lying down, I just
based on what I've seen with other people who have
done stuff like that, yeah and been fact checked. Mm hm,
there's there's going to be more shooting of the foot, yeah, yeah,

(01:47:28):
this isn't Yeah, And for contrast, this isn't this does
this doesn't end with the Jong Center. This is going
to be big news for a while.

Speaker 2 (01:47:40):
So this is going to be up there with.

Speaker 1 (01:47:45):
With creep ass face with creeper hair, Oh, his convictions
coming out. This is going to be going on for.

Speaker 2 (01:47:52):
A bit, yes, I think, and it may not even yeah,
and like it's you know, the only way it ended
with him was he died.

Speaker 1 (01:48:01):
I mean I don't think it's gonna like end that
way with her.

Speaker 2 (01:48:04):
No.

Speaker 1 (01:48:05):
No, but especially because he had already I think retired.

Speaker 2 (01:48:10):
He well, it's not that he retired, it's that he
was too ill to keep conducting.

Speaker 1 (01:48:17):
Yeah, so he basically was forcibly retired. Yeah, but she's
still in good enough health to be performing. Oh yeah,
this is gonna be I don't think it's gonna be
like hounding her until death, yeah, which rightfully so, because
what he did was significantly fucking worse. Oh yeah, but

(01:48:39):
this isn't going away, No, as easily as she she
wants it to.

Speaker 2 (01:48:45):
No, absolutely, not.

Speaker 1 (01:48:48):
That this is gonna given that it's the second time
it's happened, and there's video footage of it. Yeah, and
just like and again the fact that it involves the
audience being yelled at. This isn't going away anytime soon.

Speaker 2 (01:49:01):
No, No, this is this.

Speaker 1 (01:49:07):
This is gonna be a thing for a while.

Speaker 2 (01:49:10):
So we will keep you guys. We definitely will keep
you guys updated on the team.

Speaker 1 (01:49:14):
And this is this is one that's not even funny. No,
it is just like, oh my god, what the fuck
was she thinking? There is there is no merch to
be made of this, of this incident.

Speaker 2 (01:49:26):
Oh no, not that soprano was kind of funny, Yeah,
but only.

Speaker 1 (01:49:31):
Because of how Yoda's tried to play it off. Yeah,
there is no way you can spin it to be funny.
This is this is not this is flat out disrespect
on a grand scale.

Speaker 2 (01:49:43):
Absolutely, you can't. Yeah, you can't. You can't. And there's
no way to spin it.

Speaker 1 (01:49:50):
Yeah, Yeah, there's no way at all.

Speaker 2 (01:49:53):
No, there's no way to say, oh, it was this,
it was this that there's one there's a video, there's
a video.

Speaker 1 (01:49:59):
Of her out and yelling at the audience themselves. Yeah,
but like this is there's no spin. No. So she
could try to spin it, but it would probably end
as well as the release of the twenty twenty three

(01:50:21):
all in footage did.

Speaker 2 (01:50:23):
Yeah for her, but.

Speaker 1 (01:50:27):
The only difference being the main party involved in that
admitted to wrongdoing thing. But I don't. I honestly don't
think she's capable admitting that she did something wrong.

Speaker 18 (01:50:41):
Yeah, she regrets the regrets that it happened, But that's
not an apology, no, No, that's her saying I regret
that I was forced to do it.

Speaker 1 (01:50:58):
Yeah, I regret that my hand was forced nobody fucking
shoved you out onto the stage and ventriloquist dummied your
mouth into yelling at the audience. Yeah it parties involved
in the other in the all, one of the parties
involved in the incident, the main one admitted, yeah, I
didn't handle this right.

Speaker 2 (01:51:18):
Yeah right.

Speaker 1 (01:51:21):
She will never I don't think she'll ever admit. I
don't think Angela Georgie will ever admit that she did
anything wrong, because in her mind, she was disrespected, her requires,
her demand had been promised to be met and wasn't death.
And I don't think that she will. I don't think

(01:51:43):
she'll ever apologize, at least not in a way that'll
that'll get her her any sort of meaningful recovery from this. No,
she at the at the most she would issue one
of those non apology apologies. I'm sorry the audience felt disrespected,
but I too. I'm sorry.

Speaker 2 (01:52:01):
I'm sorry that it that people perceived that as being disrespectful.

Speaker 1 (01:52:07):
I mean, there's video, dude, it's pretty I have it,
but I'm thinking it's pretty blatantly disrespectful.

Speaker 2 (01:52:16):
Yeah he can.

Speaker 1 (01:52:17):
And this isn't like. This isn't like where more information
came out about all the ship that led up to
what happened at all end. This is pretty much we
get all the We've got all the information right off
the fucking bat.

Speaker 2 (01:52:34):
Oh yeah.

Speaker 1 (01:52:35):
And there's no way that she can spin this to
be like, well, eh, this is this is just flat
out disrespectful asshole behavior.

Speaker 2 (01:52:44):
Yeah.

Speaker 1 (01:52:47):
Without there there was no straw that broke the camel's
back on this. This was you literally jumped you. This
wasn't you powered all Like I said, this wasn't this
instead of being the strall that broke the camel back,
you jumped on that poor on that poor camel's back
and deliberately broken Yeah. Way, Yeah, I'm surprised.

Speaker 2 (01:53:10):
Yeah, I'd be surprised if somebody uh asks Jonas in
an interview upcoming interview.

Speaker 1 (01:53:17):
Oh god, oh please God, please ask him. You don't
have to be I know that you're a decent, a
good human being, mister Craufman, but you don't have to
be diplomatic anymore. You don't, you really don't. This is
the second time it's happened.

Speaker 8 (01:53:33):
Please please not be diplomatic any longer on this.

Speaker 1 (01:53:42):
Begging.

Speaker 11 (01:53:43):
You don't have to.

Speaker 1 (01:53:44):
You're a you're a calib You're at a caliber of
tenor where you do not have to work with someone anymore.
If you don't want to spill all the fucking tea
that you can, Oh, sir, please, sir, will buy you coffee. Yeah,

(01:54:14):
And honestly, what the what the best thing would be?
And I wouldn't and I honestly wouldn't be surprised if.

Speaker 8 (01:54:25):
It started to happen.

Speaker 1 (01:54:29):
Is if more people started talking about how she behaved
to them, yeah.

Speaker 8 (01:54:35):
When she was in performances with them. Because if these
are the two incidents we know.

Speaker 2 (01:54:41):
About, how many more are there that we don't.

Speaker 8 (01:54:45):
Yeah, how much other shit do we not know about?

Speaker 1 (01:54:50):
I honestly they were. If people decide that now is
the time to open their mouths, we're gonna be hearing
about bad behavior from her.

Speaker 8 (01:54:58):
That's gonna make Kathleen Battle like a nine. The Cathy
Battle was literally.

Speaker 1 (01:55:03):
Sitting there drinking her favorite beverage, going, oh, and y'all motherfuckers.

Speaker 8 (01:55:08):
Thought I was bad?

Speaker 1 (01:55:11):
Oh oh man, yodie, Please please yonics uh dude, that
had to get the aria toned down. Please please start talking, yeah,
please please start please start spilling the tea. Yeah, because

(01:55:31):
this is not something that she should be able to
bounce back from right away. No, no, oh my god. Yeah,
Like y'all can tell how baffled we are by this,
because we're just like, oh God, please please let more
come out. Yea, literally any other scanner, we're like, no,
we don't, we don't want any more to come out.

(01:55:53):
Holy shit. This where we're like, please, God, yeah, we
want more.

Speaker 11 (01:55:58):
Please.

Speaker 1 (01:55:58):
He's like, but toad, damn, if there isn't anything else
that comes out, we're gonna be disappointed. Yeah.

Speaker 2 (01:56:04):
Oh god, oh.

Speaker 1 (01:56:12):
Oh that that was a decision you made.

Speaker 8 (01:56:16):
Yeah, that was a decision.

Speaker 1 (01:56:19):
Yeah, holy ship, you made your bed. Now ship at it.

Speaker 8 (01:56:27):
I think she already did.

Speaker 2 (01:56:28):
Yeah, you should know. I should say you should should Yeah,
you should the bed la in it, now sleep in it?

Speaker 10 (01:56:36):
Yeah.

Speaker 1 (01:56:38):
Oh just oh oh. They're just like literally this is
one of those few times where there's video evidence of
the scandal in the opera world, and it's like, we
don't know what to do with this information now. It's

(01:57:01):
like usually it's only like accusations and you know, like
like with Domigo's accusation and then evidence that it was founded,
accusations and stuff, but of course none of the none,
no video. This there's actual video of the bad behavior,
and it's like, oh god, there's no way they can
spin this.

Speaker 8 (01:57:20):
No, it's all there in living color, like oh fuck, wow,
we're not used to this.

Speaker 2 (01:57:38):
W Yeah, it's it's not it's not the other shoes
gonna drop. It's it's the whole damn shoes, like.

Speaker 1 (01:57:46):
The whole fucking cobblers shop dropped. Yeah once. Holy oh
just yeah, this is this is not going away anytime soon. No, yeah,
especially especially not since there's video. Oh yeah, so guys,

(01:58:07):
I know, guys, we keep saying the same thing over
and over again, but how often do you get a
situation like this? Seriously, We're not only where there's very
very cut We're not only does all the information come
out at once about it an incident, but there's very
very cut and dry video footage of it.

Speaker 2 (01:58:29):
This is like we're political nerds, were politicized nerds.

Speaker 1 (01:58:32):
This is something we're not used to.

Speaker 2 (01:58:34):
Yeah, yeah, this this doesn't even happen in politics.

Speaker 1 (01:58:38):
Yeah.

Speaker 2 (01:58:38):
Usually in politics, you find out you hear something initially,
and it's like a really slow burn till you find
out everything. This is the equivalent of a redneck with
a firecracker that blew up in their hand.

Speaker 1 (01:58:52):
Seriously, Oh my god, Oh Jesus, we I genuine like,
I genuinely don't know how this is going to end,
but I know it can't end.

Speaker 2 (01:59:08):
Well, well it can't.

Speaker 1 (01:59:10):
It absolutely cannot end with her career in as it
was when she stepped on that stage. Intact. Yeah, it
was no, this, this can't.

Speaker 2 (01:59:22):
This is not going to It's not going to.

Speaker 1 (01:59:25):
This is like up there with one with one. It
came out like that, And I just keep thinking of
this one line from the book The Other Bling Girl,
you know, the Howards a broken rank. Everyone knows you're
playing for the throne now, like everyone knows now, Yeah,

(01:59:46):
Like there's there's no hiding or putting it back, and
it's there's no denying any of it.

Speaker 2 (01:59:53):
Oh no, now, like oh Jesus, yeah, we need we
need popcorn, We need a whole damn.

Speaker 1 (02:00:03):
Where is that mother?

Speaker 8 (02:00:04):
Where is that motherfucker from slip disc when you need him?

Speaker 2 (02:00:07):
Seriously?

Speaker 1 (02:00:09):
Like, I mean, I don't like the guy. I don't
like when there's a clear bias, yeah, and in someone's reporting,
like a very overt, in your face bias. But if
ever there was a time that we need a duck
grumpy motherfucker from slip Disc.

Speaker 2 (02:00:27):
Oh yeah, this is it.

Speaker 19 (02:00:31):
Oh my god, Oh, son of a bitch, this is
oh yeah, this is this is yeah.

Speaker 2 (02:00:41):
So you guys, this is bad.

Speaker 1 (02:00:44):
Yeah, this is a way to say this is bad.

Speaker 2 (02:00:48):
So guys, we are gonna keep we definitely will keep
you informed as we hear new information. Uh and you
know we will.

Speaker 1 (02:00:59):
Oh good god, we will so to be haunting Opera
Wire for like the next And I literally even as
I was pulling up the articles today, the old articles,
I was looking to see if there was anything else
that had happened.

Speaker 17 (02:01:16):
Yeah, I was like, yes, anything, like y'all anything do
come up yet? Uh, we're gonna just like Google news
alerts for this bitch. Oh god, that's how bad it's
gonna be.

Speaker 2 (02:01:33):
Yeah, it is so yeah, guys, just guys, thank you
for listening. Thank you for uh for sticking with us,
because and stick with us, seriously, stay with us, because
this is going to more up to come on this
you know there is so yeah, like thank you for

(02:01:55):
tunity in and all.

Speaker 1 (02:01:56):
Sorts of other ship like the Met's new season is
start is coming up because we're god, our house is
coming up. Yeah, wonderful. We've seen this too, Yeah, we've
seen now. Uh.

Speaker 2 (02:02:10):
In the next few months, we can I think we
can start.

Speaker 10 (02:02:13):
Uh.

Speaker 2 (02:02:14):
I think you and I will have to get together
and see which operas we want to watch unmet uh
a Life at Home. Uh yeah, because I know one
of them will be grounded. I want to see that one.
I want to see that one too, So we'll have
to get together for that because that those will be
operas that we can review.

Speaker 1 (02:02:34):
Yeah.

Speaker 2 (02:02:35):
Well we're gonna we're gonna talk about.

Speaker 1 (02:02:37):
Yeah, we're gonna have to do some more ship. Yeah.

Speaker 2 (02:02:39):
So yeah, and and of course, no, you know what,
you know what, Thank you.

Speaker 1 (02:02:42):
Angela Georgian for helping this podcast revive itself. Yes, the
only decent thing you've done in the past week.

Speaker 11 (02:02:50):
Yeah, oh my god, the only the only decent.

Speaker 1 (02:03:01):
Thing that that woman has done in the last week.

Speaker 2 (02:03:04):
Oh yeah. So yeah, just stick with us, guys. Thank
you for listening.

Speaker 1 (02:03:10):
Thank you for listening. Buy our ship, support our bail
fund for what Angeline for When Angela Georgia inevitably starts
suing us. Yeah, has left us alone this long, We're
probably in the clear.

Speaker 2 (02:03:24):
We're we're not Yeah, we're not We're not worried about
a Vognar family anymore. Fuck that we're worried about that.

Speaker 1 (02:03:29):
We're not worried about Domingo, is it. I mean, we're not. Honestly,
we're not even concerned that Angela Georgie is gonna sue us,
because look, you can't sue for and opinion. Yeah, so
unless it's unless it's demonstrably untrue, which it's again, there's
video footage.

Speaker 2 (02:03:47):
Yeah, so uh yeah, so yeah, buy our.

Speaker 8 (02:03:51):
Fireship buyership, buyership.

Speaker 1 (02:03:53):
Please yes, and if you don't buy our ship, we'll
Angela Georgie will come out and yell at you to
respect her. Yeah, you know, seriously by our ship. Yeah.
Also again, as the last, as for the last like ages,
if you were the person who bought the bitch Lasagna

(02:04:14):
t shirt, please come forward. Yes, god damn genuinely want
to give you the attention that you deserve because of
all the obscure jokes that you could have picked. Seriously,
you picked that one. Yeah, well that requires the most explanation.
I like to applaud you for that.

Speaker 2 (02:04:35):
Huh wait, we want to salute you, you know, miss.

Speaker 1 (02:04:40):
We want to give you the respect that you genuinely deserve.

Speaker 2 (02:04:43):
Yes, my serious uh serious shirt buyers purchaser. Yeah and yeah,
so you know, tune into your favorite yet tuned into
us with your favorite platform, uh you know. Uh and
and don't forget to go to the Facebook page. I

(02:05:04):
just put the link to the article up and if
you click on the link, you'll find that clip on
YouTube from YouTube of her, you know, of the incident itself.
So and if you need a refresher, there's also the
the clip of Yona's being.

Speaker 1 (02:05:23):
Uh you know, being yeah, well a silly billy goog
as the Babysitters Club books would say, that is still
my favorite insult.

Speaker 2 (02:05:34):
But uh yeah, you know, like the clip of Yonah's
having to say, Nona'm be on Mollens soprano uh so
uh yeah, the progression from from bad to worse, uh
of Angela jrgu So. Uh So that's it for this week.
Stay tuned because you know it's gonna go down in

(02:05:57):
the next few I think in the next few weeks, Uh,
the met will start their season up again and we'll
be back, I know we'll be back to review Grounded.
We'll watch that and review Grounded yea, and of course
you know we'll keep our we'll keep our eyes peeled
for more info on this, on this breaking news of

(02:06:19):
this unfolding situation.

Speaker 1 (02:06:21):
Uh So, until next time, guys, say we love you
Angela Georgio.

Speaker 2 (02:06:30):
No, no, we love you. We'll talk against Bye,