content: Many of the reviews complain about Ewing's vocality, but this is exactly what makes the performance so blood-chilling perfect. Rather than just blasting out all the notes as you average battle-axe soprano would, Ewing uses the German "sing-speak" technique that became so briefly popular in the 20th century among composers of dissonance. Much of her banter is spoken in melody with dramatic inflection, although to the musical notes, and is amazingly effective in portraying a fixated, spoiled, and nasty teeny-bopper. She has perfected operatic creepiness as it was intended for this work.