Headshot of La Cieca

Cher Public

  • marshiemarkII: So nice to see you MrsJC!, hope you stick around for a while. 1:54 PM
  • Gualtier M: I really am worried about Meine Lieber Jonas’ frequent bouts of ill health and history of... 1:52 PM
  • quibbleglib: Well, too bad for the New Yorkers who purchased tickets for Wednesday night — though... 1:36 PM
  • Satisfied: No refunds but you can exchange your tickets for a different performance of this or another... 1:34 PM
  • Poison Ivy: Yeah, casts are always subject to change in the fine print. 1:32 PM
  • kashania: All opera companies state that casting is subject to change. A recital (or concert program that is... 1:31 PM
  • moi: Usually the policy would be, that Lee gets to sing for a packed house… A concert performance gives... 1:28 PM
  • quibbleglib: What is the Met’s policy on refunds in a case like this? 1:22 PM
  • kashania: Argh, “her” in the above post is referring to Garanca. 1:13 PM
  • kashania: With the exception of Rachvelishvilli, I have not heard any of the mezzos under discussion here... 1:12 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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