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Cher Public

  • MontyNostry: Many thanks for the explanation. I love the idea of an audience comprising entirely dentists. Do... 2:15 PM
  • Feldmarschallin: A closed performance in this case was for the Freunde des Nationaltheaters, a group that was... 2:13 PM
  • MontyNostry: You know, I also much prefer Jessye’s slightly absurd grandezza to listening to a whiny... 2:03 PM
  • MontyNostry: What’s a closed performance, Feldmarschallin? And, in London, Pappano indulged Gheorghiu... 1:58 PM
  • Benedetta Funghi-Trifolati: I was at the Metropolitan TURANDOT with Nancy Tatum almost exactly 40 years ago.... 1:53 PM
  • Ilka Saro: LOVED the Kay Thompson clip! Does anyone know the year that was done? Very Fosse-esque... 1:33 PM
  • operaddict: Does anyone NOT expect an opera diva to be over the top grand? And who among today’s divas... 1:09 PM
  • mercadante: Actually sounds like an extremely positive review of cast grand production allowing for eventual... 12:13 PM
  • MontyNostry: The Puccini album Pieczonka made a few years ago certainly sounded like Ariadne auf the wrong... 12:00 PM
  • armerjacquino: It’s also to do with government support, both financially and in the sale of arms. Yes,... 11:53 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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