# La Traviata live stream



## rgz (Mar 6, 2010)

Posted this in the general chat thread but thought I'd make a new topic for people who don't visit that thread.

Live stream of Traviata w/ Damrau and Beczala
http://liveweb.arte.tv/de/video/La_Traviata_in_der_Mailander_Scala/
Near the end of A1 right now.

Video quality is pretty mediocre, even with the HD stream, and there are occasional digital artifacts in the audio. That said, Ms. Damrau sounds amazing, as good as I've ever heard from her.


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## rgz (Mar 6, 2010)

The Eb6 at the end of Sempre Libera sounded a bit shaky and weak.

e: and A2 starts up right away so I guess it's not a "live" stream


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## Aramis (Mar 1, 2009)

Oh noes, I thought it's tomorrow. Now it's too late to get into (I just listened some other music). I'll just keep the window opened and look upon the highlights. So far I find the staging and customes very awkward. Damrau doesn't look very Violettaish in that housewife outfit and with kitchen gear around her. Is this nest of love or home where wolf ate Little Red Riding Hood's grandmother?


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## rgz (Mar 6, 2010)

The Marquis looks distractingly similar to Gary Oldman.
And why is Flora wearing an Indian headdress.


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## Pip (Aug 16, 2013)

Singing is pretty good all round. her Eflat may not have been perfect but it was pretty damn good. live is live, one never knows what will come. It is a live performance from tonight, however, time delayed by the TV companies to save broadcast time by shortening the intervals.
The production is poor- lots of money spent on what? modern day Traviatas don't work because today virtually no one adheres to the bourgeois moralistic ideals of the 19th century. Verdi set it in that time, but the censors refused to allow it. He had to move the action one century earlier. But in this 21st century world we live in, the idea is laughable. When will these directors get it?
The overacting is getting worse.
Although I started to record this, it will no doubt be deleted shortly.


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## Aramis (Mar 1, 2009)

The staging is TE-RRI-BLE. The overacting that Pip mentions is clearly fault of the director, because I can hardly imagine good acting by singers in this conception of what's going on on stage. Scene between Violetta and old Germont was just pathetic to watch. At one point she was like "oh, I got to quit my boyfriend, too bad, meh...", then out of the blue some unnatural, overly dramatic gestures got into it and were repeated over and over. Terribly stiff. And ten Beczała cutting vegetables during his father's aria - priceless. Well, at least that was funny. 

And what a static, clueless party scene just took place. Sad to watch.


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## Pip (Aug 16, 2013)

I was waiting for an accident when Alfredo was chopping the Veg. Really stupid direction.
I like the baritone very much. elegant singer. To ruin his aria as Aramis described would have resulted in some great old time La Scala stalwarts (Gobbi! Bastianini, ect) refusing to sing under such circumstances.
It really is a shame because musically it is very good, Gatti is doing a great job in the pit. lovely conducting for the intro to the last act.


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## Lucrezia (Nov 21, 2013)

To be honest I expected even worse form Chernyakov, who is a real pervert indeed. It seems that his main goal lies in distracting public's attention form the music. I'm so glad he was justly booed.

Actually, I didn't like Gatti's rhythm, it was a bit jumpy and strange.


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## Aramis (Mar 1, 2009)

Lucrezia said:


> I'm so glad he was justly booed.


When? I missed that. Oh, as I write this I hear that even Beczała gets booed by somebody (sounds like one person).

One thing I forgot to mention and which annoyed me immensely: the two minor characters of male and female servant got some additional time on stage, all pretty stupid. The Hvorostovsky-in-glasses guy standind and doing silly faces as Alfredo hesitates to open the letter, then this annoying lady present at the party and chasing Germonts out after Violetta dies. Very bad idea, adds nothing except annoyance.

And they keep booing at someone, though I don't know at who, since everybody is now on stage.


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## deggial (Jan 20, 2013)

wait, which Traviata is tomorrow? or is this the one I thought was tomorrow?  meh, I guess I didn't miss much. Plus chances are good somebody will post it on youtube once it's done.


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## Asstra (Dec 7, 2013)

I w'd like to say couple of words about Chernyakov. His imagination is bit perverted, I agree. Only few russian critics welcome and support his performances. Some year ago he staged Sadko in Bolshoi and official permited to watch it only18+. Every his work in Russia is a scandal. I regret that La Scala invited him to open this season.


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## mamascarlatti (Sep 23, 2009)

Beczala says on his Facebook page that he isn't ever working at La Scala again. :



> My last production in La Scala... I think They should engage only Italian singers ... Why I spend my time for this" schmarrn" ... Arrivederci ...


Guess he didn't like being booed. Can't blame him, sounds like he sang well.

I have to say that I fail to see what the present attraction of La Scala is. Nightmare place to work, horrible audiences, and the productions are not that flash either.


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## mamascarlatti (Sep 23, 2009)

Asstra said:


> I w'd like to say couple of words about Chernyakov. His imagination is bit perverted, I agree. Only few russian critics welcome and support his performances. Some year ago he staged Sadko in Bolshoi and official permited to watch it only18+. Every his work in Russia is a scandal. I regret that La Scala invited him to open this season.


I like some of Tcherniakov's work - eg his Russlan and Lyudmila from the Bolshoi held my attention the whole way through, which is more than I can say for the more traditional version I had see earlier, and I love his Paris Macbeth.


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## schigolch (Jun 26, 2011)

Amami al freddo


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## Pip (Aug 16, 2013)

mamascarlatti said:


> Beczala says on his Facebook page that he isn't ever working at La Scala again. :
> 
> I watched it all. He sang well. I can't believe he was booed for his singing, someone has paid the claque to ruin his evening.
> In fact it would be difficult to find a better Alfredo today.
> ...


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## rgz (Mar 6, 2010)

mamascarlatti said:


> Beczala says on his Facebook page that he isn't ever working at La Scala again. :
> 
> Guess he didn't like being booed. Can't blame him, sounds like he sang well.
> 
> I have to say that I fail to see what the present attraction of La Scala is. Nightmare place to work, horrible audiences, and the productions are not that flash either.


Pity he got such a poor reception; he sounded in excellent voice to me, and I can vouch for him being a dedicated guy who takes his craft very seriously, and a nice guy to boot.


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## Aramis (Mar 1, 2009)

Pip said:


> Barenboim left very abruptly two years before his contract ran out. It really is a nest of Vipers there


That's why everybody wants to conquer it like Conan went to that party with bare, stoned ladies and the wizard who turned himself into viper so it's exactly like with La Scala I want to conquer it as well this is my vision, I'm getting my debut at La Scala, my opera is performed and I conduct but they are booing us so I burst out into the lodge with major booer and I shout EEEEEE MASCALZONE and he waves his hands and yells EEEE CHEEEE and I punch him and we fight and as we fight we fall down to amphitheatre and everybody is outraged and the brawl begins between my cast of singers and supporting audience members and booers we tear the seats from the ground and throw them around, the air is heavy with powder and resounds with woes of moribund and I am victorious but somebody calls the police so I and my garde imperiale throw everybody out and barricade, the Italian police storms the front door we say LA GARDE MEURT, MAIS ELLE NE SE REND PAS and we throw timpanis and tubas and trombones on them from the windows above yet they break in and storm to arrest me for assault on Italian citezen and ruining public venue so I run to the window and as they try to reach me I say AHAHHAHAHAHAHAHAHAHHAA and jump through the window and there's Beczała in brand new Ferrari waiting under it and I fall into the seat and we roll and he handles me a carrot we eat them as we escape the chasing police and we ride all the way to Vatican and they can't arrest us there so out Ferrari burst onto St. Peter's Square and the Pope is there and places the laurel wreath upon my brow and everybody sees my glory and nobody the all newspapers next day say I conquered La Scala that how I think it could be


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## mamascarlatti (Sep 23, 2009)

It's the carrot that got me.


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## rgz (Mar 6, 2010)

Aramis said:


> That's why everybody wants to conquer it like Conan went to that party with bare, stoned ladies and the wizard who turned himself into viper so it's exactly like with La Scala I want to conquer it as well this is my vision, I'm getting my debut at La Scala, my opera is performed and I conduct but they are booing us so I burst out into the lodge with major booer and I shout EEEEEE MASCALZONE and he waves his hands and yells EEEE CHEEEE and I punch him and we fight and as we fight we fall down to amphitheatre and everybody is outraged and the brawl begins between my cast of singers and supporting audience members and booers we tear the seats from the ground and throw them around, the air is heavy with powder and resounds with woes of moribund and I am victorious but somebody calls the police so I and my garde imperiale throw everybody out and barricade, the Italian police storms the front door we say LA GARDE MEURT, MAIS ELLE NE SE REND PAS and we throw timpanis and tubas and trombones on them from the windows above yet they break in and storm to arrest me for assault on Italian citezen and ruining public venue so I run to the window and as they try to reach me I say AHAHHAHAHAHAHAHAHAHHAA and jump through the window and there's Beczała in brand new Ferrari waiting under it and I fall into the seat and we roll and he handles me a carrot we eat them as we escape the chasing police and we ride all the way to Vatican and they can't arrest us there so out Ferrari burst onto St. Peter's Square and the Pope is there and places the laurel wreath upon my brow and everybody sees my glory and nobody the all newspapers next day say I conquered La Scala that how I think it could be


I would play this video game.


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## Couac Addict (Oct 16, 2013)

rgz said:


> I would play this video game.


...sounds more like a derby match at San Siro.


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## Tsaraslondon (Nov 7, 2013)

I've watched a few clips on youtube now, which I will accept is not the same as watching the whole opera. 
Impressions I have gleaned.
Beczala seems to be on dangerous ground, singing from the throat. I can't see him lasting much longer. That said, I rather liked his acting in the party scene. Alfredo is, after all, behaving like a spoiled brat, and he carried that off very well.
I don't much like Damrau. Vocally she didn't do much wrong, but there is no vulnerability in her voice. This Violetta is too composed, too much in control. I don't believe she could ever be consumed by love for anyone. I felt this in her response to Germont's "Pura siccome un angelo". There was no desperation. The impression was of a businesswoman turning down a proposal that was not to her liking. "Addio del passato" did have a sense of resignation, but their was no sickness in the tone. I didn't for one moment feel that this was a woman literally at the end of her tether. This, of course, was where Callas was so great, but others have achieved it too. Cotrubas, whom I saw at Covent Garden; Stratas in the Zeffirelli film; Fabbricini in La Scala's previous production (beautifully staged by Liliana Cavalli); and Gheorghiu, whom I saw in her debut in the role at Covent Garden.
As for the production itself. Well it was never going to satisfy the traditionalists. It had some nice ideas, but some, like Alfredo rolling pastry during "Dei miei bollenti spiriti", that were just too gimmicky. I'd have to see the whole thing to comment further, but i'm not sure I want to.


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## Aramis (Mar 1, 2009)

GregMitchell said:


> This Violetta is too composed


It's not Damrau's fault, but Verdi's. He composed all of this.


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## mountmccabe (May 1, 2013)

I am sad I missed this. I need to better keep up with such streaming events!

I am really looking forward to Tcherniakov's _Prince Igor_ at the Met in a couple months.


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## Dongiovanni (Jul 30, 2012)

I'm going to Milan to see this production, so I resisted the livestream to keep it as fresh as possible. But it's all over the blogs... Diana missing her entry ! I can't imagine Beczala doing a bad job singing. He may have had a bad day, I don't know. However I think he should not have written his reaction on facebook. It's La Scala, where so many stars have been booed. It's a hostile place.


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## deggial (Jan 20, 2013)

Dongiovanni said:


> However I think he should not have written his reaction on facebook.


aren't hissy fits the raison d'etre of facepalm?


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## Gizmo (Mar 28, 2013)

Memorable Moments

The cooking class
The curly wig – (Tom Baker - Dr. Who style)
The Indian outfit
The blanket, the pills and the booze on the floor
Dying on the chair without falling off of it, better yet, the entire last act


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## mamascarlatti (Sep 23, 2009)

Dongiovanni said:


> I'm going to Milan to see this production, so I resisted the livestream to keep it as fresh as possible. But it's all over the blogs... Diana missing her entry ! I can't imagine Beczala doing a bad job singing. He may have had a bad day, I don't know. However I think he should not have written his reaction on facebook. It's La Scala, where so many stars have been booed. It's a hostile place.


Well, why not if he doesn't want to work there again?Why should people work their butts off and do a reasonable job and then get booed? How many of the booers could sing a note? And why should la Scala maintain its reputation when it's such an inefficient and hopeless place to work?


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## Aramis (Mar 1, 2009)

mamascarlatti said:


> And why should la Scala maintain its reputation when it's such an inefficient and hopeless place to work?


Apparently it is efficient. All that matters is that they have the estabilished renome and money needed to gather stellar cast - this will not change because singers will drop out after incidents such as those with Beczała or Alagna, it's fantasy. The notion of La Scala being among the most desireable places for singers to perform in, is so deeply rooted that not much can change, even if La Scala will offer as much or less than provincional theatre, the stars will keep gathering there.


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## GioCar (Oct 30, 2013)

mamascarlatti said:


> Well, why not if he doesn't want to work there again?Why should people work their butts off and do a reasonable job and then get booed? How many of the booers could sing a note? And why should la Scala maintain its reputation when it's such an inefficient and hopeless place to work?


I don't like the Teatro alla Scala (this is it's correct name) in some of it aspects as well, but may I ask you to provide some REAL evidence on what you are saying? Beczala sang well of course, but the cadenza he wanted to insert was, imo, against every reasonable development of Verdi's modern interpretation, particularly after all the works done by Riccardo Muti to have Verdi's operas sung according to the composer's wishes. Beczala was acting as a prima donna, as it was used many years ago (with the complicity of Gatti, who was booed as well) and the (very few) people that booed him had all the rights to do so... Or you go the the opera/concert just for clapping, even if singers, musicians, conductors, directors make unacceptable choices, at least for you?
The Teatro alla Scala may be not the better opera house nowadays (even if, sorry if I say that, it still stands among the tops at least for me and many other people) but it doesn't deserve such a blind criticism. Most (I am not saying all...) of it's productions are among the best you can see worldwide, and maybe this is also because some people have always dissented if they didn't like what they saw/heard. You are right, this happens very seldom in most of the other opera houses...


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## Dongiovanni (Jul 30, 2012)

mamascarlatti said:


> Well, why not if he doesn't want to work there again?Why should people work their butts off and do a reasonable job and then get booed? How many of the booers could sing a note? And why should la Scala maintain its reputation when it's such an inefficient and hopeless place to work?


Don't forget it's the famous 7 december opening night. This is THE event at La Scala every year. It seems more like a circus than opera. Most of the audience members only go there to be seen. I wonder how many really care for opera. Prices are redicilously high.

A year or so ago I was there and heard Beczala live. This time he got lots of cheers and bravo's, and when Trebs took a bow I heard the loudest ovation I ever heard so far. That performance is still a very cherished memory.

Scala audience will give you loud cheers if they like it, but also booes when they dont like it. It's part of the tradition. It has the toughest audience in the world. For singers it has been the most prestigious place to sing for centuries, but who knows, that might change.

Off-topic, it has just been announced that Chailly will be the next director (from 2015). The first Italian to take the job after Muti left.


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