Headshot of La Cieca

Cher Public

  • La Valkyrietta: httpv://www.youtub e.com/watch?v=r03i kE2Hl4E 6:17 PM
  • m. croche: “[Chairs are} a European thing” This is a joke, right? Chinese opera traditionally... 6:07 PM
  • Salome Where She Danced: I have never seen Jessye’s tear gutter so pronounced as on this intriguing... 5:19 PM
  • LT: His repertoire isn’t what I usually listen. That explains it. 4:05 PM
  • manou: Shame on you LT. He is absolutely superb. 4:00 PM
  • LT: Why they keep kissing her ass is beyond me. I had to google the male winner. Never heard of him. 3:55 PM
  • manou: OperaAwards Readers’ Award are Jonas Kaufmann and Aleksandra Kurzak! 3:43 PM
  • manou: Anja Harteros is not with us, so her acceptance speech will be delivered by a bichon frisé wearing the... 3:41 PM
  • Kassandra: Are there any parterrians attending this years Salzburg Whitsun Festival? (22-25/5) It would be... 3:28 PM
  • manou: I often perform the Naked Puppet Show – hands only. Very useful when stuck in traffic. 3:08 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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