Word: traviatas
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Dates: during 1960-1969
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...known as Beverly Sills, shares with her mother Shirley. Alone in the living room, Beverly sings the despairing recitative, Where Has It Got Me?, and tells how she performed 63 Micaelas in 63 one-night stands of Carmen, and 54 Violettas in 63 nights of La Traviata. A messenger enters, bearing an offer from the Frankfurt Opera to star in La Traviata, Faust and Carmen for $125 a week. Over whelmed, Beverly sings the beguiling aria, To Frankfurt Will I Wander...
Last week she rounded off a series of three appearances in a production of La Traviata created for her at the Frankfurt Opera. It was a lusty performance that emphasized the low-life origins of the heroine (who in the Dumas novel went from waif to courtesan to wreck within eight years). Silja contributed considerably to that characterization with a tense, far-ranging voice (31 octaves) and a spectacular stage presence that can flash with the music's mood from tigress to tragedienne. The ultimate tribute to the Silja Traviata was apparent immediately after each performance; at the Frankfurt...
Many also achieved secondary but more lasting fame: Marie Duplessis was the prototype for the heroines of Dumas' La Dame aux camelias and La Traviata; Blanche d'Antigny was transformed by Zola into Nana and Apollonie Sabatier was the real-life la Muse et la Madone of Baudelaire's Les Flews du nuil. If these coquettes shared a single trait, it was by no means beauty but an indomitable will to succeed and the ability to overcome natural handicaps. A practical sort was Blanche d'Antigny. An inordinately heavy sleeper, she found early in her career...
Opera companies of all sizes and ages chattered to life across the country last week like firecrackers on a string. Manhattan's two companies faced off across Lincoln Center Plaza with year-old productions: the Metropolitan with its comfy,old-fashioned Traviata and the New York City Opera with Beni Montresor's fairy-tale setting of The Magic Flute. In neither case was the performance on much more than a ho-hum level; in fact, Spanish Soprano Montserrat Caballe's first Met Violetta seemed an almost deliberate throwback to the bad old days when singers were meant...
...week the Met concluded a ten-day Verdi stand in Newport, R.I., that combined familiar pieces with a smorgasbord of the unfamiliar representing musicological digging at its frenzied best. The top events were a series of open-air concert performances of Verdi operas, ranging from the well-loved La Traviata and // Trovatore to the ripsnorting, deliriously difficult / Vespri Siciliani. The singing was predictably proficient, the Festival Field amplification acceptable and the attendance fair...