I am impressed with the author's knowledge of Opera. I am not impressed with the author telling me something I already knew: Music groups (such as Il Divo, which I was proudly and blissfully unaware of until now) that are "put together" by a producer are always going to be style over substance, and therefore, miss the whole point of music. Most of the best music is made by non-beautiful, boring people, with only a few notable exceptions. The beautiful and awesome Liz Phair being an exception.

No one ever accused the American CD-buying public of having good taste. That's for sure.

I have long laughed at popera... or anything near it. Sarah Brightman and Charlotte Church and Josh Groban... when does the madness end?

Though to be fair, I don't dislike the aforementioned for their own merits, which are understandably mediocre and inoffensive. What I dislike is all the fangirls and fanboys who think that Josh Groban is an amazing vocalist, or what have you. I go to a college with a strong music program, and all of my music performance major friends could blast that guy out of the water.

As a classical musician myself (though an instrumentalist), I can barely even stand authentic-but-overplayed vocalists like Renee Fleming. The only popera I listen to is the unfortunately named Opera Babes, because they actually sing, but over a nice poppy beat.

I have a strong affection for him. But classically trained though he may have been, I'm not sure he could have triumphed on the operatic stage. Wasn't his voice more suited to the demands of The Student Prince than Rigoletto? (I love operetta, by the way.)

David...

You may look down your nose at Popera (I prefer to call it Contemporary Classical), but, it serves a very important purpose: bringing Classical music to today's audiences. Josh Groban and Il Divo are just two of a plethora of groups and individuals who are the cutting-edge stars of this important movement.

The incredibly interesting, professional and powerful styles of Contemporary Classical performers such as Operababes, Bond, Vanessa Mae, Maxsim, Emma Shapplin, Filippa Giordano, Gregorian, Lesiem, ES Posthumus, Delerium, Era, Coco De Mer, Origen, East Village Opera and hundreds more are bringing yesterday's Classical music to today's audiences.

Taking "Dies Irae" from Mozart's "Requiem", "Va Pensiero" from "Nabucco" or the "Hallelujah Chorus" from Handel's "Messiah" and blending each with a rhythm track, adding a bit of newer, modern instrumentation while still keeping the outstanding classically-trained voices is simply brilliant! I love it!

Your "purist rant" is duly noted, but, if "Popera" or "Contemporary Classical" opens the world of Mozart, Handel, et al, to an audience who might never listen to it...that's wonderful! You might give the above noted artists a listen; it might expand your horizon.

Dale in Philadelphia

I've only heard Groban sing a couple of times and he may be technically talented, but the author hit the nail on the head about his songs are dreck. I have the same visceral reaction to him that I have whenever I hear Celine Dion...change the station/channel.

It never would have occured to me to equate Groban with opera, although classical pop fits, I suppose. I have no problem with these guys making a buck on the latest trend. If people get pleasure from it, that's great. It's like the boy band or Latin music crazes. These manufactured "popera" stars will have their day in the sun until the masses move onto the next popular music trend.

... but NOT his music, for the most part. I place much of the blame squarely on David Foster's shoulders, as his cheese-tastic touch can be felt on many of the pieces. Josh was so young when he was "discovered" that I can see how a powerful force like Foster could mold him and set him on those easy-listening paths - he didn't have a lot of say then. Now, having gotten a lot of acclaim for doing just that, it would be tough to break away from that template (not to mention Foster's grip). There are a handful of songs that I can lose myself in from his first CD, but I haven't been able to stomach anything since. He is a nice alternative to much of what's out there, vocally, but I'd love to see him shake the predictable, formulaic dreck he's been putting out.

I am a vocalist who appreciates opera as well as many other vocal styles, and though Groban's voice has a depth and level of vibrato that begs comparison to the more operatic voices of the century, he himself has stated that he doesn't consider himself a singer of that caliber or type - he's just a young guy who loves to sing and now has the chance. Let's see what he does in the next 10 years, and maybe not try to compare him to musuical styles he's not really trying to emulate.

As for songs he's gotten co-writer credit for ... well, who among us hasn't cringed over old love notes, poetry, etc. written in our younger days? Many of the songs feel like just that - a love letter from high school or college, or some lovelorn verse composed in a heartbroken haze. Again, maybe time and life experience will improve those tendencies.

How nice that Salon.com suddenly cares about classical music again. I guess now we'll start reading articles about actual opera stars?

(Note that the following do not count: "soap opera," 'Phantom of the Opera.')

This crossover crap is popular for one reason: excessive media promotion.

It's hardly fair to blame the likes of Il Divo for their own success, when even an independent outlet like Salon can devote a whole segment to "popera" dreck without mentioning the name of one bona fide opera singer more contemporary than (septuagenarian retiree) Pavarotti.

Can we talk about Dawn Upshaw instead? Thomas Quasthoff? Andreas Scholl? Magdalena Kozena?

Please?

I saw the headline - gee, Salon is actually going to say something about opera! Nope - just some chatter about young men who don't have the voices/training to sing real opera anywhere in this country.

One is, by definition, an opera star if, but only if, one performs in opera. These guys don't. Juan Diego Florez is an authentic - and to those who are incited to lust by handsome young men - romantic young opera star. I doubt that Marchese has a clue as to who Sr. Florez is.

Which is not to say these guys don't make a lot of money and delude a lot of totally unknowledgeable people into thinking that they sing opera. It is unfortunate that Marchese did not stress this - he mentioned in passing that these guys don't do opera, but only in passing