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Cher Public

  • Camille: This is actually quite useful information and appreciate the time you took to explain these fine... 12:19 AM
  • Camille: Don’t be sorry—I’m not sorry I didn’t notice the eunuch. I don’t pay much... 12:05 AM
  • operaassport: If you think the Govs of 7 states have inside weather info you can’t get by watching the... 11:15 PM
  • DeepSouthSenior: This is looking better every minute: Live in HD, Saturday, February 14, 2015. (Two sweet... 10:55 PM
  • operaassport: The point being that its silly to cancel things for the evening when nothing is really going... 10:39 PM
  • operaassport: So far, in NYC, it’s been much ado about nothing. 10:38 PM
  • Krunoslav: The plastic bag warnings as you report them– clearly in possession of information about the... 10:32 PM
  • laddie: That is cute. 10:17 PM
  • operaassport: I’d be happy to experiment on you :) 10:12 PM
  • Poison Ivy: Well seeing as this is an opening night/NP playing to an empty house is probably a bad idea. 10:09 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.

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