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H. L. Mencken once remarked that “the opera is to music what a bawdy house is to a cathedral,” a sentiment that resonates with William Murray, a former New Yorker staff writer and aspiring opera singer. For him, a bawdy house symbolizes a realm of confusion, drama, and raucous song. In this exploration, Murray follows twelve young singers in the Lyric Opera of Chicago’s prestigious Opera Center for American Artists during the 2003–2004 season. Throughout the year, these singers engage in countless coaching sessions, master classes, auditions, and rehearsals, ultimately performing alongside renowned figures like Samuel Ramey and Natalie Dessay. Murray provides an insider’s perspective on the opera world, highlighting the challenges posed by temperamental maestros, ambitious directors, and the weight of tradition. Intertwining his own training experiences in New York, Rome, and Milan during the 1950s with the struggles of today’s young singers, he reveals the immense ambition and determination needed for an arts career. As he notes, becoming a successful opera singer is a high-stakes endeavor, akin to a matador’s risky career. This narrative captures the angst, heartache, and small triumphs of rising talents, all fueled by the music that drives them.