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Cher Public

  • Camille: Haha! Bill! Although I did not feel the Barbarina outsang la Contessa, she certajnly put Susanna in... 10:03 PM
  • DeepSouthSenior: And oh, after downtown New Orleans I’m delighted to visit Parterre again, where... 9:59 PM
  • DeepSouthSenior: Well, as y’all were experiencing and discussing various onstage disasters, I had a... 9:51 PM
  • Krunoslav: Thanks, DellacasaFan. I of course meant historical Dalmatia, since time era of MEERKAT WIDOW was... 9:43 PM
  • Jungfer Marianne Leitmetzerin: Bill, will you be at the “Figaro̶ 1; at Theater an der Wien? I have... 9:34 PM
  • Lohenfal: Bill, I was at the Figaro today. I assure you that it didn’t sound any better experienced... 9:27 PM
  • Jungfer Marianne Leitmetzerin: From the Staatsoper Web site: VALENTINA NAFORNITA wurde in Glodeni (Moldawien)... 9:23 PM
  • Bill: It should be mentioned that when this Vienna Rigoletto new-production was originally scheduled with... 9:14 PM
  • Bill: Grane – Rachel Willis-Sorensen had a pleasant voice – the voice is basically attractive and... 8:54 PM
  • peter: Rachel Willis-Sorensen was one of the bright spot on today’s broadcast. Not only is the voice... 8:27 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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