Headshot of La Cieca

Cher Public

  • Lohengrin: That was in München 2010. Scala: JK was Einspringer in the second performance. 10:12 PM
  • phoenix: I’m not so sure. That’s why I’d like to hear Kampe’s 2009 Glyndebourne... 10:09 PM
  • Camille: Remunerative. Sorry, Tristan and Isolde have run me off the rails. O wonderful music! Guten Abend! 9:50 PM
  • Camille: Oh was that Scala? Did not remember. I heard her long before and really liked her, FWIW.... 9:47 PM
  • phoenix: The webcast performance with Kaufmann & Kampe you write about above – I believe was... 9:45 PM
  • Camille: What would Madam Patti have thought about anything? She led a very restricted life and I don’t... 9:45 PM
  • Camille: Sorry, typo nightmare. I am listening to Isolde’s Rache and can’t see straight! 9:42 PM
  • phoenix: I wonder what madame patti would have thought about this 9:40 PM
  • Camille: No, that Fidelio was at the Los Angeles Opera not La Scala. I saw her on the webcast from Wherever... 9:40 PM
  • Camille: O Götter nein, she ain’t no Mödl. That only comes around once in a great while, fm hat I have... 9:37 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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