Word: traviatas
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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...
...Sunrise. Produced last week, it was the most lavish spectacle ever conjured by the Met, a triumph in a season of new productions that so far have ranged from big-scale to boffo. In Antony and Cleopatra, the scenery outweighed the music. La Traviata, Verdi's melancholy masterpiece, was buoyed by the stylish performances of Anna Moffo and Robert Merrill. La Gioconda, an en dearing old war horse, came vibrantly alive in an opulent but refreshingly conventional production, beautifully sung by Renata Tebaldi and Franco Corelli...
...Bing says, all a matter of economics. "I am behind the times-so is the American public. And they are the people who buy the tickets; the critics get in free. To make successful opera in New York you do Carmen, Boheme and Traviata, and then Traviata, Boheme and Carmen, Stage a modern work and during the third performance you could put on a blindfold, spray the house with a machine gun and be pretty sure that you would never hit anybody...