Cher Public

  • jackoh: Let me venture an opinion that I am not sure how far that I would go to defend. I don’t think that there is any such thing as a... 6:32 PM
  • aulus agerius: Such a boring opera…..I couldn’t stick with it. Those 2 sopranos going on and on. I’m having a hard time... 5:45 PM
  • RosinaLeckermaul: Went to NABUCCO at the Royal Opera last night. Other than Jamie Barton in the small role of Fenena and John Relyea as... 4:55 PM
  • Fidelia: For info for those who left the chat before the production team came out for bows. There was the usual battle between boos and... 3:51 PM
  • JohninSeattle: It’s nice to know that outside of graduate schools for english literature and gender studies Foucault is still a... 12:17 PM
  • DeepSouthSenior: In three hours we’ll be watching the final live telecast of the season on Digital Concert Hall. Berlin Phil. with... 11:29 AM
  • rapt: Ouch! 11:05 AM
  • PCally: She’s quite open about it as well. I believe she’s married with a child. 9:08 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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