Cher Public

  • blansac: What the HDs cannibalize in ticket sales they may make up in way of generating donations. I’m guessing that one of the... 12:38 PM
  • kashania: I know that it’s tricky to arrange with all the collective agreements (and “tricky̶ 1; is likely a gross... 12:26 PM
  • Krunoslav: Cosme’s bio pic will in fact be titled STRAPPING ALONG. 12:25 PM
  • Bluebeard: Ok, but let’s think about the prices of Met tickets, which have become unbelievably expensive since the 2012-2013 season... 12:22 PM
  • overstimmelated: I was at the Entführung with terrific Ben Bliss and it looked like a practically full house from where I was sitting. I... 12:21 PM
  • classicalbeat: Gualtier M: I do not often enter this arena, but it seems relevant and only slightly self-serving to say that I did see... 12:16 PM
  • La Cieca: Well, everyone says this, but if you take a look at Broadway grosses, the majority of shows run lower than 66%. The problem is... 11:44 AM
  • The Poet Lenski: Not offering HD screenings in the NYC area would only work if the Met offered more access to reasonably priced tickets,... 11:44 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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