“American vocal training has long been bruited as the best in the world and is supposed to be better than ever. Yet there has been no commensurate rise in great new talents. One clear measure of the problem is the system’s inability to deal effectively with large voices and talents like Ms. Wilson’s. It seems to favor lighter, flexible voices that can perform a wide range of material accurately, rather than the powerful, thrilling, concert-hall-filling voices on which live opera ultimately relies for its survival.”