This study in artistic hermeneutics contains objections and critiques that have been generated by the contemporary cultural scenery of musical interpretation, especially related to the opera performances. Nevertheless, as the reader will surely notice, such critique can be very well applied to the entire spectrum of contemporary culture, as the phenomena described here are ubiquitous. Ion Piso’s ‘alarm signal’-study is essential reading, particularly as it comes from somebody who has over half a century’s experience of being an artist-interpreter in world opera. As such, Piso is well-placed to offer such a critique, and thus fulfil Goethe’s challenging desideratum: “You can only judge fairly what you, yourself, are able to accomplish”; as the following quotations fully illustrate:“J. Piso was the new duke [...] He incarnates all the virtues that an interpreter must have for this role, and which are seldom met with in one person. These are the reasons why the duke of Mantova has become a role for which they are looking for specialized tenors. Piso is both young and lean, elegant and full of temperament, a very credible and conquering playboy [...] La donna e mobile has the qualities of Gigli, and his legato sounds always seductive. Furthermore, who else brings together these days, the finesse of the belcanto with such a prodigality of brilliant high-notes?”– K. Honolka, Stuttgart, April 1964“[Piso in Werther, was the highlight of the season as] he represents the true Romantic style – which is the mode in which this role should be interpreted, what more can be said...”– A. J. Potter, Opera, London, February 1968“The virtuosity of Piso’s technique produces a special pleasure to the listener, especially by the manner in which the most powerful forte comes to fade away in the most delicate piano. Through a rich variety of expressive tools, he was able to reveal the contents of the Lieds by interpreting them with an excellent diction technique.”– Potsdamer Blick, March 17, 1966“Piso is the embodiment of the multilateral tenor, who has become today almost obsolete, due to the melodious charm of his voice, to his sensitivity, and to the homogeneity of his voice in all registers, even in the most ‘exposed’ passages.”– Die Union, Dresden, March 4, 1966