Cher Public

  • danpatter: I guess I’m a hopeless romantic/sentiment alist. The ARABELLA finale never fails to get to me. I like this opera even... 11:22 AM
  • redbear: It was absolutely clear to me that Castorf was deliberately making fun of and emphasizing the banality of the story and I cannot... 10:09 AM
  • Camille: PCally–I have no time to chat this morning but I must tell you– Just go to that link which sogalitno has provided... 9:32 AM
  • WindyCityOperaman: More Romberg: httpvh://www.youtu be.com/watch?v=70D H050eqUQ httpvh://www.youtu be.com/watch?v=J2T alBHXaig... 8:44 AM
  • PCally: Camille that’s the most I’ve heard you rave in a while. She really must be something and I’m very sorry that I... 8:14 AM
  • Cocky Kurwenal: Afternoon Milady, think I’m inclined to agree with you on Barton. I heard her live for the first time recently and... 8:02 AM
  • Cicciabella: Nie wieder Castorf! http://www.welt.de /kultur/buehne-kon zert/article157339 652/Nie-wieder-Cas torf.html 4:08 AM
  • Camille: No, you are NOT making it up, just like Anna Russell! 11:24 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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