Regarding the post War Horses!, reader Henry Holland writes:
"That's a very interesting blog and it's very well written. He seems to be composer-centric rather than in to diva/divo worship, which is in line with my tastes too."
As far as being composer-centric vs. voice-centric, I absolutely see your point. I think there is some explanation, however, beyond "some people care about composition, and some about Diva Worship"
I think, as a lot (though not all by ANY means) of opera bloggers, columnists, etc are New York based, we have unusually extensive opportunities to see live performances, and are motivated to write by their immediacy.
It seems, when discussing performances of the "War Horses" as Bill calls them, we often tend to accept (with many isolated exceptions) the worthiness of the opera itself and its composer as a given. Whereas, when examining a newer or lesser performed work, the inclination is to discuss the music, the context, the composer, etc. (and also, of course...the voices).
If you look at a lot of the blogging about An American Tragedy, for instance, you will see much more evaluation of the actual piece than you would of, say, the Met's Rigoletto. Certainly, we still have criticisms and questions about these works, but, when writing about an old production of a dare I say canonical opera, the focus is almost unwittingly going to be on the voices and the conducting; this is where we will find fresh perspective and reasons to be newly excited about something we already admire.