Headshot of La Cieca

Cher Public

  • MontyNostry: And Arangi-Lombardi was Leyla’s mentor. httpv://www.youtub e.com/watch?v=2L1r hK11KfQ 7:27 PM
  • MontyNostry: Even though I’m an f***ing Brit, I wasn’t really aware of Ruth Packer, Kruno, but... 7:25 PM
  • kashania: Kruno: Thanks for the clips. I look forward to listening to them all. 7:25 PM
  • Ruxxy: Dame Joan managed to scrape out a career without being too fussy over diction. As for good German... 7:17 PM
  • Camille: Don’t be a widow, honey. There’s always another fish in the sea. Live your life for art.... 7:00 PM
  • Ruxxy: La Cossotto “overacting& #8221;? Could such a thing be possible? lol 6:49 PM
  • Flora del Rio Grande: Opera gossip does not exactly pay the Dairy Queen bill! I never heard of such a... 6:38 PM
  • Krunoslav: More Arangi-Lombardi to savor (granted she was no Ruth Packer): httpv://www.youtub e.com/watch?v... 6:36 PM
  • Don_Dano: Parsifal – I had planned on going to the MET in winter 2013, but the urgent need for cataract... 6:17 PM
  • Krunoslav: “I read that Callas was in fact a last-minute replacement for a malfunctioning mezzo as... 6:10 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.

Read more »