Just one chapter again today, but it leads up to what's to come.
More than one reader has questioned the accuracy of the opera side of the novel. It's as accurate as I could make it. The details of the operas that I give are spot on; so is as much of the backstage byplay as I can manage within the confines of my story. In particular, the two anecdotes about the Falstaff aria are pretty well known as a matter of history, and it's a sensible choice for Nick to have made.
There'll be a lot more about opera as the story progresses, but much more, too, about Asmedogh. I won't neglect him; he's the main theme here.