Headshot of La Cieca

Cher Public

  • WindyCityOperaman: Just got it. LMFAO! 3:22 PM
  • m. croche: The Japanese Arthur Farwell! 3:07 PM
  • kashania: AJ: I think that was one of the best tracks of his French & Italian Arias album. He’s... 3:02 PM
  • FaustinaBordoni: Camerana’s timbre is “sweeterR 21; than Owens’s̵ 1;softer around... 2:59 PM
  • kashania: ROBERTO DEVEREUX update For those interested, here are Radvanovsky and Capalbo in the final two... 2:50 PM
  • Olivero is my Drug of Choice: I find Camarena has a much “sweeterR 21; sounding voice than... 2:39 PM
  • actfive: Jeanette’s Italian could use some work. 2:34 PM
  • armerjacquino: I’m guessing that this was part of a trilogy of films with ‘The Coffee Cup’... 2:25 PM
  • Gualtier M: Jeanette MacDonald sang a cut and somewhat unsubstantial “Liebestod&# 8221; in this... 2:21 PM
  • Cicciabella: I think De Nationale Opera makes the most of its state subsidies and corporate sponsorship... 2:17 PM

New classic

met_traviata_1Willy Decker’s Traviata has garnered praise from critics and audiences alike in the week since its Metropolitan premiere, but (as was to be expected) this praise comes over the complaints of a select few traditionalists, a handful of lonely boos amid the mostly enthusiastic applause. Their objection (as usual) is that Decker’s production betrays the “original text” of “Verdi’s La Traviata.” But these detractors should consider that La Traviata is a work in which questions of betrayal and fidelity are specifically at issue—one that reminds us that sometimes, counterintuitively, the only way to remain faithful to someone or something is to depart from it.  Read more »

Face time

traviataAs we look forward to New Year’s Eve and to the gala opening of Willy Decker’s La Traviata at the Met, it seems fitting to look back—by way of the official, live, DVD recording of the production’s sensational world premiere at the Salzburg Festival in 2005—to get some sense of what’s behind all the hype. Released in 2005 by Deutsche Grammophon, this recording promises an exciting evening for the Met’s audience on December 31st, but also raises the question of whether the New York premiere will live up to the high expectations set in Salzburg.

Read more »