Headshot of La Cieca

Cher Public

  • Poison Ivy: Yes, the unexpectedly fussy vocal lines in the 1853 version are really jarring to the ear when... 12:20 PM
  • Porgy Amor: I almost linked to Ivy’s clip myself, but the meat of what I was talking about is just... 12:19 PM
  • armerjacquino: The 1853 edition is the biggest drawback of the Carsen version for me. It’s fascinating... 12:04 PM
  • armerjacquino: Yes, I agree. The interesting thing about Germont is that he thinks he’s a good man... 12:02 PM
  • Dabrowski: “The only operetta ever written about Subpart F of the Internal Revenue Code made its debut... 11:59 AM
  • Porgy Amor: On that point, aj, I agree. He has come armed with several methods of persuasion, and this is... 11:54 AM
  • Poison Ivy: Here’s a clip of that moment. Is this production the only one to use the 1853 edition?... 11:42 AM
  • armerjacquino: I’ve never seen the ‘Un di quando le veneri’ section as pragmatism or... 11:25 AM
  • tiger1: Elliot Palay, I remember seeing him at the first Aarhus Rings (in Denmark) in 1987 as Siegfried (my... 10:51 AM
  • Krunoslav: Anyone else at MEISTERSINGER last night? Martin Gantner jumped in as Beckmesser, skilled and very... 10:40 AM

Bright young thing

“Though La Traviata means ‘the lost one,’ Thursday’s Met performance of the Verdi tearjerker featured a major find: Diana Damrau, who, in her first outing as Violetta, mesmerized with her gleaming soprano and ferocious acting.” [New York Post]


  • oedipe says:

    In other (unrelated) news, a recent blind item from La Cieca apparently didn’t fly…Or didn’t fly over.

    It seems that the Liceu GM Matabosh -not wanting to enrage, in these crisis times, an already depressed and grouchy audience- said “No!” when the Met approached him asking to buy out Alagna from a run of Buttefly that has been sold out for months now. It may or may not be true that Matabosh walked away humming “I don’t care too much for money, money can’t buy me love”.

    But at any rate, Giordani told us during one of the Francesca HD intermissions that a main reason he likes the role of Paolo is because it’s easy…

    Wouldn’t it be preferable for the Met to avoid getting into this kind of messy situations by doing a more thoughtful and appropriate casting in the first place?

    • DonCarloFanatic says:

      At Giordani’s career stage, an easy role is the right role for him. He sounded good almost to the end of last Saturday’s Francesca. Then the dryness crept in. In Ernani he sounded dry from the beginning.

      I thoroughly enjoyed the Francesca, BTW, and if La Cieca ever deigns to allow us another intermission thread, shall tell you all why.

      • oedipe says:

        Well, maybe Giordani considers the role easy, but it didn’t sound that way to me in the HD. He sounded strangulated much of the time and by the end he was practically choking.

        • Chanterelle says:

          Giordani sounded so much better than I had expected. In the house he husbanded his resources intelligently and never made me wince (more than could be said for Westbroek). It’s sad that this should be considered praise, but it depends on your expectations. I imagine any choking sound at the end were drowned out by the orchestra, to which Armiliato gave increasingly free rein.

          I must say that Francesca was one of the prettiest things I’ve ever seen on the Met stage. A sumptuous procession of gorgeous tableaux and lush sounds, perfect for sampling between sorties from your box to smoke a cigar or arrange a tryst. Oh wait, that was 100 years ago…

          • messa di voce says:

            Giordani always sounds better in the house: one of the least broadcast-friendly voices around.

          • DonCarloFanatic says:

            But surely that’s the point for some of us? To visit the (idealized) world of 100 years ago that we are not old enough to have experienced firsthand?

          • Indiana Loiterer III says:

            You mean the Met changed the costumes from medieval to Edwardian/Georgian without anyone noticing? (But seriously, Chantarelle was referring to audience behavior of 100 years ago.)

  • erricco says:

    In 1984, during the last-ever MET visit to Toronto (in pre-surtitles days) we gave up on Francesca halfway, although it looked lovely. Last Saturday it was good to see the more exciting second half, but Giordani was a trial.
    Another poster suggested using sets and costumes for a different opera. How about L’Amore di Tre Re? Could anyone suggest how to cast it?

  • Niel Rishoi says:

    Bill mentioned Gruberova earlier. I’d like to introduce a few clips from her 1992 Venice performance. This is Violetta’s entrance in the 2nd act, to the first part of the duet with Germont. The crucial bit of interpretation that is really unusual from most other Violettas happens at 3:50. Watch her face when he mentions his children; her warm, glowing response, “di due figli?”; and the reactions when Germont is telling her about them is indicative of Violetta’s caring persona:

    She’s actually LISTENING to Germont, charmed by the account of his family. Most Violetta’s react too soon here, anticipating prophetically…

  • Quanto Painy Fakor says:

    The energizer bunny is on the move again. What does one do between performances of La Traviata? Fly off to Dubai to sing a concert for UNESCO.

  • Nerva Nelli says:

    Salvatore Cordella jumped in as Alfredo with 15 minutes’ notice last night and the show went on. He didn’t falter and is idiomatic but sounded in Act One like Altoum or Dr. Caius. Better in Act Two-- but kind of Il Ritorno di Dino Formichini…

    After a few cold minutes, Damrau kicked in and was quite wonderful. And I have to say PD greatky exceeded my expectations, though the prompter had a busy night. Bravo Yannick!

    • operaddict says:

      Thank God for body mics……they can take a humdrum day and suddenly make it all seem worthwhile…..

      • La Cieca says:

        Tell us more about the Illuminati.

        • operaddict says:

          There it is again…that hateful M word…
          Let all be sure that Santa DOES come down the chimney, the Tooth Fairy WILL leave you a quarter under your pillow…and the Easter Bunny hides those wonderful chocolate eggs around the house.
          The Iluminati hang lights on the eaves at holiday time and All is well with the world. What the hell difference does it make?
          E quel ch’egli e

    • Sneakeater says:


      3/18/13 — How strange to see a Traviata where you kind of wish Germont would fill in for Alfredo.

  • Drammy says:

    Hullo, Parterre,

    Anybody going to see Traviata this Saturday? Entered the raffle for rush tickets and looking forward to it :) Knock on wood.

    if anybody wants to meet fellow opera fans (don’t know if this happens often) my friend (a post-doc), her husband, and I (college kid) will be around the cheap seats.