Diana Damrau and Juan-Diego Flórez in La Traviata. Photo: Marty Sohl/The Metropolitan Opera Editor’s note: This review was originally published in December 2018. We republish it today as the Metropolitan Opera, closed for the diration the coronavirus pandemic, will be streaming video of this production tonight. It becomes available at 7:30 p.m. New York time and will be available for 20 hours thereafter. Full details here. La Traviata opens with an act of renunciation: Violetta gives up glamour for the possibility of love. Verdi makes that choice a real one by giving each side of music memorable specificity. Michael Mayer, who directs the Metropolitan Opera’s new production, makes the decision easier by making the sparkly life so unsexy and over-sugared that the last act’s deathbed bleakness comes off as refreshingly spare. Susan Hilferty outfits le tout Paris in Marzipan-colored costumes that Elton John might consider a little much. The only set, designed by Christine Jones, is a circular room with a hole in the ceiling that occasionally lets in snow or a chandelier that looks like it’s made of Post-Its and chicken wire. Gilded floral reliefs give the room a rococo — make that three more cos — glitziness, until… Read full this story
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