Cher Public

  • danpatter: If memory serves, her mother insisted she was born one day previous to that listed on her birth certificate. So not a huge... 6:02 PM
  • armerjacquino: And Alex Kelly, who doesn’t have the technique of an opera singer but is the only Cunegonde I’ve ever heard... 5:58 PM
  • armerjacquino: It doesn’t bother me in the slightest what you think, you’re a stranger. That’s quite a solipsistic... 4:53 PM
  • aulus agerius: Today I’m watching the YT of Perfect American and my response is similar – just a lot of talking over subdued... 4:51 PM
  • grimoaldo: I know it bothers you that I don’t like musicals, you will just have to go ahead and think badly of me, I don’t... 4:49 PM
  • aulus agerius: It’s the narrator in Candide that caused me to walk out last time. The time before that I enjoyed it – which... 4:47 PM
  • armerjacquino: Well, there you go. If a few mics mean you can dismiss a whole genre (complete with dismissive quote marks round the word... 4:38 PM
  • Krunoslav: I am aware that many divas back then changed their birth years ( Albanese, Kirsten, Steber, Verrett) and am aware of the... 4:33 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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