Opera Britannia has done a disservice to our youngest, fruitiest and most extraordinary of critics.  I am, of course, talking of the inimitable Stephen Jay-Taylor.  We have, inadvertently, implied that his “shake” is anything but phenomenal.  I unreservedly apologise if any offence was caused.  La Jay-Taylor can “shake” better than an operatic Beyonce.  This is a well-known fact, and I admit that my temporary loss of memory was due to a sudden passion for Lidl’s finest chocolate liqueurs whilst penning my magnificent opus.
I am inclined to believe that rarely has such an impossible combination of talents ever been witnessed in one human being since his idol, with whom he shares an uncanny vocal resemblance, sang on stage at Carnegie Hall on the 25th October 1944.  Their singular voices will live long in the memory.  On behalf of this diminishing organ, I resolutely apologise if I implied that this God-given voice is anything but a phenomenon.
We would therefore like to change SJT’s entry in our previous article about the Critics Opera by striking out what is there and adding:
Previous statement retracted:  Stephen Jay-Taylor will perform the world’s longest and quietest pianissimo since Yma Sumac had trapped wind in the Andes. Expect a trill that will be talked of throughout the ages.  A peerless “shake” of unimaginable speed, including, but not limited to, trilling in thirds.
Antony Lias