Headshot of La Cieca

Cher Public

  • Loge: She sang Aida in her early days. A CD exists of highlights. 12:42 PM
  • peter: He may have been a dud on stage but the times I heard him were from the Family Circle standing room... 12:34 PM
  • armerjacquino: vociaccia- certainly true when I saw him in TOSCA. He just strolled round the stage without... 12:16 PM
  • la vociaccia: He certainly had a marvelous voice which he trained extremely well, but was he ever... 12:10 PM
  • peter: Giacomini’s prime was fairly short but earlier on in his career, he had the most thrilling... 12:00 PM
  • NPW-Paris: I like to go to Kad?köy for lunch at Çiya. 11:57 AM
  • NPW-Paris: And the bust of Atatürk. 11:56 AM
  • NPW-Paris: I know it. But anyone seeing the photo must do a double-take. 11:55 AM
  • armerjacquino: And Giacomini, very ropey as Turiddu, just as he was when I saw him live as Cavaradossi.... 11:36 AM
  • Batty Masetto: Another composer-priest: Daniele da Castrovillari, whose screwball drama La Cleopatra will be... 11:28 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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