Pablo Torre

On short notice.

So too did you take the stage.

That's it.

In front of the world.

What are nerves like in opera?

You know, you get... Still, you still feel it.

Again, in my review of opera criticism, it does not seem like these people are particularly generous.

I'm trying to imagine like what it's like.

Again, the sports parallels, like these columnists are really just like on my ass.

One of the things that, and you were just referencing this, how you got this experience in Europe where suddenly you were the understudy having to fill in.

Yeah, yeah.

There were a number of performances of you doing Moby Dick at the Met Opera in New York City where your understudy turned out to be needed.

Yeah.

A bunch.

A bunch.

Three in a row.

And so for those who don't know why that is, which is I think everybody listening to this.

I have a habit of burying leads on this show.

But this one, I did want to withhold just because...

Your story, everything we've described, took place in this context, which again, the audience, the reviewers certainly, but the audience,