• Released
  • July 17, 2013
  • NR , 2 hr 30 min
  • Concert/Special Events
    Music/Performing Arts

Wonderful performances and unusual settings

By moosegirl
Written September 28, 2016
What an opportunity to see top level opera without paying Met prices or traveling to New York. The modern stage sets allowed the music to take center stage and the singers were all wonderful of course. Top honors go to Natalie Dessay, whose acting was so emotionally convincing it moved me to tears. One major, quibble though. The movie was supposed to start at 7 pm, but when we arrived on time it had already started and the overture was almost finished. Please tell the theater not to start before the advertised time.
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By operafirst
Written May 04, 2012
The Encore presentation of La Traviata was superThe acting and singing were as usual exceptional. However, I would prefer to see the old style production and not the modern one. It somehow seemed monotonous to see so little change of scenery. It was very colorful, but the old costumes are more in line with the story. Natalie Dessay is really a gem!!!!!!!!
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la traviata

By edipollaert
Written October 24, 2016
We had to leave the theater. The sound volume was uncomfortably, screechingly, loud.
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La Traviata Summer Encore

By tshrimp2001
Written February 21, 2017
This was the first time my wife and I had attended a Met Opera feature, and we were both very impressed with the performance. If you like good music, a good theater performance, or both, we highly recommend it.
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Met's La Traviata review

By repetiteurKula
Written May 07, 2012
Natalie Dessay sang a beautiful Violetta in the MET production of La Traviata. Her ability to soar through the high register passages and then sing the most pianissimo phrases was magical and extraordinary. Her small frame produced this very large, highly expressive vocal range to exemplary heights. Her diction was excellent. Matthew Polenzani was fully up to the challenge as Alfredo and Dmitri Hvorostovsky provided a vocally dramatic shift in character phases from anger, beligerance, and finally penitence. Though scenery and costumes were minimal, this was an outstanding performance that was fully enjoyable on strictly the musical and dramatic levels. Natalie sang clearly and beautifully regardless of what physical position her body sang from - upside down, sideways, running, and curled up on the stage floor. She is truly a gifted soprano and a dramatic actor - a rare combination in opera today.
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