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Cher Public

  • Camille: Right you are, Clita, and that was precisely what I had in mind! The stuffy and self-satisfied Mrs.... 2:57 PM
  • decotodd: You can catch many of Shearer’s pre-code titles next month on TCM, which is doing a festival... 2:53 PM
  • Clita del Toro: Cammiest. You have to see Norma’s “pre-code 221; movies, where she plays... 2:31 PM
  • Camille: Of course he was. I was just making sport with him—he—whom I so hopelessly adore, from across the... 2:11 PM
  • operaassport: I once spoke to the director Jim Robinson about Klinghofer and he said he felt that the rap on... 2:09 PM
  • Clita del Toro: We just did! ;) 12:55 PM
  • ML: Eeesh. So much hatred. Who reads these blogs? 12:39 PM
  • ML: Well, that is good news. 12:29 PM
  • kashania: Whenever I hear of The Women, I can’t but think of these deliciously campy opening credits.... 11:24 AM
  • kashania: Whilst here, you can also catch the Tcherniakov Don Giovanni. 11:16 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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