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in response to noxcounty: she should keep her day job
in response to noxcounty:
she should keep her day job
…and you should get one.
Once again, Duckett can't be bothered to check his work for misspellings. This time it's the pianist Jeffrey Biegel. (He spelled it Beigel twice.) Does anybody proofread the Duckett's articles?
I'm guessing that with Harold Duckett serving a timeout for his horrendous factual errors in the preview last week, the NS had to get somebody else to write a "review" of Manon. Unfortunately, they found someone who knows even less about opera and theatre than Duckett does.
Frankly, this is not really a review at all--it is nothing more than an advertisement full of exaggerated praise designed to placate an advertiser. This sort of thing serves no one. It is not going to induce a non-opera person to buy a ticket. And it certainly doesn't inform or enlighten operagoers-most know bogus praise when they read it. Knoxville Opera is a true asset for Knoxville (and Knoxville operagoers) and they deserve better than gratuitous boosterism. We're big kids now, we can take it.
(This comment was removed by the site staff.)
In every Duckett article, there seem to be goofs with names, grammar errors and spelling mistakes. In this one, two spelling errors leap off the page. Either Duckett or his editor need to learn to spell or get a spell-check app.
One can argue about the quality of this writer's content, but inarguable is the bad spelling, particularly of performer's names. The latest in this article is "Jorraine" instead of "Lorraine" (Lorraine DiSimone). If this was an isolated case, one might overlook it, or chock it up to lack of editorial oversight. But since the spelling errors are not isolated, but happening in every article, I can only assume that Duckett is doing it intentionally as an insult. He called Rachel Barton Pine "Rachel Parton" and misspelled the head of Knoxville Opera, Brian Salesky. Well, shame on Duckett, and shame on the editors for allowing this pathetic stuff to continue.
I'm guessing that Duckett was so in a rush to champion the shallowness and distraction of premature applause in this concert, that he couldn't be bothered to even get the soloist's name right. After all, it's BARTON, not "Parton." But perhaps, another Parton was what he had in mind, anyway. As far as his other comments, I wonder--is there a musical version of the phrase "penny-wise and pound foolish"?