Headshot of La Cieca

Cher Public

  • rysanekfreak: My Option A/B pairing…. Don Carlo/Don Carlos 6:52 AM
  • Feldmarschallin: In der heutigen Vorstellung von La forza del destino (31. Juli 2014) wird Zoran Todorovich... 5:34 AM
  • ML: ” … this particular fight or whatever you want to call it” is the biggest debacle at... 3:19 AM
  • ML: The raise bothers me less than the 10-year contract. Nobody gets that. No normal board gives that. 3:10 AM
  • m. croche: So I guess they had nothing to do with the decision to cancel the Klinghoffer broadcast? 2:54 AM
  • La Cieca: Got to get the glasses checked. Three times I read that comment, and every time, it came out I’ve... 2:25 AM
  • Feldmarschallin: She will be doing Trovatore here after the Manon Lescaut. 2:15 AM
  • ianw2: This is really quite different from what happened in Minnesota. Minnesota was proposing a severe base... 2:13 AM
  • La Cieca: That’s an interesting question. My opinion is that Gelb is in the right on this particular... 1:34 AM
  • bluecabochon: Steve, there is so much propaganda and sheer ugliness being exhibited by the unions and... 1:34 AM

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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