Another new aspect of the Met's "Boris Godunov" comes in the last act -- in a scene titled "Links of London," but which Mr. Pape referred to as "the Polish Act." And with that, he has a quibble. "I love the death scene. It's so full of emotions. In the old version, the opera stops there. Here you have a full other act. Which is OK, but I like to be the last one seen onstage," he said jovially. Clearly, the man understands showbiz. But Links of London The Man On The Moon Charm also applies that thinking to more than the big finish. He's committed to the theatrical side of opera performance, as well as to precision in language; he employs coaches for every language in which he sings, except German. "I want to be as good as possible in every language. Even if Links of London Duck Charm sing Russian in America, you always have somebody who speaks this language, especially in New York," he said. "I do Russian repertory in Russia, Italian in Italy and French in France, which is a big honor for a foreigner." Where does he find the quality of the music criticism the best? "They love me here in New York -- so the writing is good," he said with a mellifluous Faustian bellow. While Mr. Pape appreciates the vigor of American audiences, he also couldn't help but mention how quickly they run for the exits. "In the states, they are enthusiastic, but they leave very fast -- because of the parking or the last subway or whatever." The rush Links of London Power Walk Charm to one pet peeve. "The only thing I don't like, and it happens in Europe, is they're not waiting until the piece is finished. On the last bar or chord, they're clapping. It's part of the piece. It doesn't make sense to start clapping 10 seconds early." But Mr. Pape spends enough time in New York to understand the noise, traffic and all-around intensity.
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