Lost in space
It’s rare to encounter a video of an opera that has zero redeeming qualities, but I think I might have found it: the latest Arena di Verona La Traviata.
334 pieces since 2005 — in 1 role, at 10 companies, most often at Metropolitan Opera.
It’s rare to encounter a video of an opera that has zero redeeming qualities, but I think I might have found it: the latest Arena di Verona La Traviata.
On Saturday night, dell’ arte Opera Ensemble presented a lean performance of La Traviata.
A new production of La traviata by Daniel Kramer, the current artistic director of ENO, brings fresh ideas to the classic drama.
It was dear Oscar Wilde, wasn’t it, who devised that early mot du jour “Good writers borrow; great writers steal”…
The controversial production of La traviata from La Monnaie directed by Andrea Breth is now available for viewing online.
Back-to-back casts in the Metropolitan Opera’s revivals of Madama Butterfly and La traviata offer ample opportunity for soprano-gazing.
It’s time to discuss Zinka Milanov.
On this day in 1981 the Metropolitan Opera telecast its new and unremarkable production of La traviata.
Angel Blue‘s refulgent, lush soprano blooms as Violetta’s vocal lines broaden and soar.
On this day in 2006 tenor Jonas Kaufmann made his Metropolitan Opera debut as Alfredo.
A quick survey of the Met website shows wide swaths of available seats for the upcoming performances of La traviata and L’elisir d’amore. Only new works like The Hours and Fire Shut Up in My Bones have been achieving sold-out houses.
Trove Thursday remembers Edita Gruberová with live recordings of two of the three operas I heard her perform at the Met: a 1985 Munich La Traviata with Neil Shicoff and Wolfgang Brendel conducted by Carlos Kleiber and an I Puritani from Vienna 1994 featuring two other artists who recently left us too soon: Marcello Giordani and Dmitri Hvorostovsky.
On the 21st of this month Romanian soprano Virginia Zeani will celebrate her 95th birthday and Trove Thursday salutes her versatility with two markedly different 20th century works: Menotti’s The Consul and Mascagni’s Il Piccolo Marat, one of many collaborations with her husband Nicola Rossi-Lemeni.
On this day in 1957, Renata Tebaldi sang the title role in a new production of La traviata at the Met, directed by Tyrone Guthrie.
With Christmas Eve 2016 falling on a Saturday, the Met offers contrasting orchestral splendors at noon and 6 p.m.
It took the better part of a decade—including two high-profile cancelations—or New York to finally hear Anna Netrebko in recital.
La Cieca has just received a complete report from her spy at today’s open dress rehearsal of La traviata at the Met.
La Cieca’s spy wriggled into last night’s Met dress rehearsal of La traviata and reports: “One has to be careful about making too many judgments or drawing too many conclusions from a rehearsal, but last night’s final dress was indeed very promising.”
As 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. […]
La Cieca’s spy reports on the Met’s pre-season:Â
Lisette Oropesa sang “The Lost One”—the meaning of “traviata.”
Once upon a time, a man and a woman met. He could sing, she could sing. They fell in love, got married, and became a power couple to rival Billary.
When I was a kid growing up in Paris, there was a weekly TV broadcast of a theater play called Au Théatre Ce Soir that I loved. But that my father would rarely let me watch this show, because the plays were all were silly comedies, usually badly acted and filmed without any creativity or […]
In Robert Carsen’s 2004 production of La traviata for Teatro La Fenice, the Prelude is staged. During this haunting music, we see Violetta lounging on a huge bed while more than a dozen men pay her for her services with wads of oversized dollar bills. By the time Act One begins, the bed is virtually covered […]
“Dying in the third act is much more intense, as the sickness has the same symptoms as COVID-19, so suffocation, pain, agony, fever—all this must be present and real.”
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.