Cher Public

Red all over

You’ve heard what it sounded like; now you can see Saturday afternoon’s HD of La traviata, thanks to YouTube.

  • MontyNostry

    OT, but I unwittingly just had my first experience of music by Eric Whitacre. I switched to BBC Radio 3 and I appeared to have hit a setting of the final moments of an episode of the Waltons, composed by a hybrid of Gorecki and Andrew Lloyd Webber. Barf!

    • Baltsamic Vinaigrette

      Monty -- having wiped the floor with Simon Cowell on TV this past month, maybe the Beeb is trying for the Classic FM constituency on radio?

    • ianw2

      I loved your description of Whitacre. I’m surprised he hasn’t had an opera commission lobbed his way. He pretty much owns the choral scene nowadays (and he’s a TED speaker!).

      Some of his stuff is okay, but he’s a working composer which means he churns the stuff out so he can eat.

      • MontyNostry

        ianw2 … Judging by Eric’s success he is probably eating caviar, truffles and foie gras. Hopefully, he won’t be listening to any of his music while doing so, or he will be bringing all that expensive stuff back up before he knows it.

        • ianw2

          Oh its not that bad, but sometimes people carry on like he personally discovered the ninth chord.

          I realise now that my comment may be unintentionally snobbish. I have utmost respect for composers who can live off their music alone, but, astonishingly!, they’re hu-man so the sheer quantity of their output means any un-eveness becomes even more apparent, as do their tics and standby positions (Glass is the prime example- how sad that there aren’t more easily named composers who live solely off their composition).

  • Clita del Toro

    Why do she names appear in red here.

  • Clita del Toro

    I wrote, why do some names paperer in red here!

    • Clita del Toro

      OY, I need a rest--too many typos!

      • Camille

        Clita dear--i forgot to tell you this: after Joan lost the role to Greta, she would have nothing whatsoever to do with*moi*. So she is not “my” Joan, but she is yours forever
        LuvU
        Cammie

    • CruzSF

      Those names in red link to the commenters’ blogs, Facebook pages, or Websites.

      • Clita del Toro

        Oh, thanks, Cruz.

        • CruzSF

          You’re welcome.

  • Camille

    Just a note: it is kind of interesting that DiCapo is doing Traviata concurrently with the Met. Anyone seen it? Just curious, but yellow.

    • turandotti

      the greatest traviata i ever saw was Villazons debut at the met with renee and dimitri

    • Gualtier M

      Cammy, I saw it. Replacement Violetta sang opening night -- Kristin Sampson. Sampson has a dark, large, mettlesome voice -- think Tebaldi or Caniglia as Violetta. Not the most graceful coloratura or silkiest pianos but in the later acts she scored. Tenor was mediocre, the Germont Michael Corvino has a good voice but sounded angry all night.

      Production by Michael Capasso well-directed with good blocking. The production is period and simple. Worth seeing.

      BTW: signs of sanity in the universe: Placido Domingo has withdrawn from conducting “Otello” at the Met next season due to “scheduling conficts” and will be replaced by Alain Altinoglu. Good news at last. “Alain Altinoglu will conduct next season’s spring performances of Verdi’s Otello, replacing Plácido Domingo, who has withdrawn due to a scheduling conflict. Altinoglu will lead the performances on March 11, 15, 20, 23, 27, and 30.”

      • Camille

        Why, thanks a lot for the capsule review, Gualtiero del mio cor, and I shall keep her name in mind. Better that type of voice as that is where three quarters of the music lies.

        I remember Michael Corvino’s early singing from about fifteen years ago--still at it? Someone has to do the angry Dad!

        Al più presto!
        C.

  • mercadante

    I haven’ t seen the whole production yet, but it seems intresting and certainly does no offence to either Piave or Verdi. It seems to stress, or highlight, certain character aspects and themes at the expense of others, but seems well thought out and engrossing.

    I felt Dessay was completely involved with the character, but tended to overdue some business. Her march of death at the beginning was a bit much. I realize it was supposed to contrast with her forced ” party face” , but I saw less foot dragging from the POWs in Bridge on the River Kwai.

    Also, her interplay with the Dr Death/Dr. Grenville character during her exchange with Alfredo was intresting. But again, she seemed to overplay. There was no subtlety. It seemed an opportunity lost as so many other singers can put a lot into this exchange; irony, flirtatiousness, indifference, boredom, a sense of being imposed upon, curiosity, distraction, bemusement. I have seen so many different takes that were more intriguing, more thouht provoking about the character.

    One moment, however, was pure genius. And I dont know if it ws Dessay or Decker; but after Violetta claims she is the goddess of pleasure and Alfredo says that he wished Violetta was immortal also, Dessays face frozevas she realized that she was not only not immortal, but dying. Pure genius, and a stunning moment.

  • myworldisopera

    The videos are now down YouTube… copyright claim!!!

  • toitoitoi

    I saw the Met Trav w/ Flem and Vil. and the GLORIOUS over the top set -- the mantilla or fan or whatever that drop of black lace from the ceiling was will stay in my mind’s eye forever. Zefferelli gets it.

    • toitoitoi

      Also, they could sing, and look good enough while doing it. Is that too much to ask? Perhaps.

    • messa di voce

      It’s just that some of us would disagree as to what “it” is.

      • Camille

        That depends os what the meaning of “is” is.

  • Quanto Painy Fakor

    Saturday PM: Dessay just cancelled after the first act. I wonder if she apologized or just had enough of all of it.

    • Quanto Painy Fakor

      It will be interesting to check the recording.

    • Camille

      So SORRREEEE!

      Well, so are we! I won’t pay for this merde, that is for certain.

  • Quanto Painy Fakor

    PS: Now, as Théâtre Shoshana predicted, the full Traviata video has been officially removed from Youtube.

  • bluecabochon

    I just read on Opera-L that Dessay couldn’t continue after Act 1 in Traviata tonight and was replaced mid-show by Hong.

    :(

    • Quanto Painy Fakor

      So it turned out to be a well-hong show!

      • ritazetti

        I felt Dessay was completely involved with the character, but tended to overdue some business. Her march of death at the beginning was a bit much. I realize it was supposed to contrast with her forced ” party face” , but I saw less foot dragging from the POWs in Bridge on the River Kwai.

        Also, her interplay with the Dr Death/Dr. Grenville character during her exchange with Alfredo was intresting. But again, she seemed to overplay. There was no subtlety. It seemed an opportunity lost as so many other singers can put a lot into this exchange; irony, flirtatiousness, indifference, boredom, a sense of being imposed upon, curiosity, distraction, bemusement. I have seen so many different takes that were more intriguing, more thouht provoking about the character.

        One moment, however, was pure genius. And I dont know if it ws Dessay or Decker; but after Violetta claims she is the goddess of pleasure and Alfredo says that he wished Violetta was immortal also, Dessays face frozevas she realized that she was not only not immortal, but dying. Pure genius, and a stunning moment

        Couldn’t agree more