No need to apologise, Barbara.

I think that this was the first of the Met's simulcasts that I saw (at the York City Screen, 10 minutes walk from here, a couple of years ago). I felt that Fleming, much more in close-up than one would have registered in the opera-house, was better in the carpet-chewing at the end than the letter scene.

I had no problems with the not-all-that-but-somewhat-minimalist production. And I do agree that Vargas's aria was pretty much the highlight.

This week, I'm off to Buxton in the Peak District to see Verdi's Luisa Miller, a great favourite of mine, plus Cornelius's The Barber of Baghdad, of which I know nothing, Handel's Alcina (know some of the music, never seen it on stage), plus a double-bill of Bernstein's Trouble in Tahiti and Arias and Barcarolles. Oh, and an illustrated talk about Pauline Viardot (composer, sister of Malibran, Berlioz's Orphée, Meyerbeer's Fidès, first singer of Schumann's Liederkreis and Brahms's Alto Rhapsody.....), who died in 1910.