What's more offensive than squandering an opportunity in the semifinals? How about squandering an opportunity in the Top 10.
Granted that, in the case of Lys Agnès, it was more of a gradual decline than a letdown. But Agnès clearly had so much potential, and to see her fail over and over again to capitalize upon it was downright maddening.
Despite the judges having found other impressive theatrical singers, including the eventual Season 6 winner, Landau Eugene Murphy Jr., so confident were they that Agnès was the best of the bunch that they put her into the Top 48 automatically.
Incidentally, one of Agnès' would-be competitors in the operatic category, Cindy Chang, was eliminated outright in Vegas on account of her having made a terrible song choice.
It's hard not to think that, if Agnès had not advanced automatically and performed as she did in Las Vegas, that she might not have shared a similar fate.
First, Agnès performed "Hanabera," one of the most overexposed operatic works in existence. She did it well, but with such a cliche song choice, there was only so much that could be done with it.
Later in the semifinals, she performed "Bring Me To Life" by Evanescence. Which is an excellent song to be sure, but not when it's sung in an operatic tone.
But she still so clearly had loads of potential, so America still voted for her. Despite being 0-2 for song selection, she still clearly had a lot of untapped potential that was just begging to be released.
Instead, in the Top 10, Agnès hit rock bottom with a performance of "Dream On." Which should have been no worse a song choice than her previous pick, except that she also decided to demonstrate her ability to sing in lower register.
When Agnès first appeared on AGT, she seemed like an uncut diamond. By the time she made it to the Top 10, she had taken on the appearance and sound of a drag queen.
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